Roberta Ainstein

식물 보존과 영화 보존의 세계로 우리를 초대하며 이들 작업의 보이지 않는 공정, 즉 두 작업을 잇는 예술적•정치적 기원을 탐구한다.

식물 보존과 영화 보존의 세계로 우리를 초대하며 이들 작업의 보이지 않는 공정, 즉 두 작업을 잇는 예술적•정치적 기원을 탐구한다.

Lalo is a sex influencer: he posts photos of his naked body and homemade porn videos for his thousands of social media followers. Lalo directs his own life, but in private, when out of character, he seems to live in constant melancholy.

A young film director returns to Venezuela, inspired to make a film based on his father's life in the Amazon jungle (La Fortaleza, Jorge Thielen Armand). He casts Father to play himself. What starts as an act of love and ambition — filmmaking to more deeply understand the self, and the other — spirals into a process which confronts Father’s struggles with addiction and his life devoid of his son. EL FATHER PLAYS HIMSELF holds a steady lens to the way the act of cinema unearths, binds, heals and destroys.

Based on the remains of never-completed Argentine features from the archives of the film museum in Buenos Aires. The film is, as it were, a parallel film history: an essay like a cinematographic Frankenstein, that blows new life into images that once seemed unsuccessful and pointless.

Bright and beautiful, 17-year-old Adelaida enjoys a comfortable family life with her parents in an apartment in Bogotá. But soon the cracks begin to show through the veneer of this picture perfect family.

Alejandra, a young middle class woman from Bogotá, in her daily routines, capturing both her moments alone and her interactions with the world.

남부럽지 않은 직업과 부를 가진 베로니카. 홀로 차를 몰아 시골길을 달리던 베로니카가 갑자기 울린 휴대 전화를 집으려 고개를 숙인 사이 끔찍한 소리와 함께 차가 무언가를 치받고 만다. 한동안 멈춰 선 베로니카는 차에서 내리지도, 뒤를 돌아보지도 않은 채 다시 시동을 건다. 베로니카는 일상으로 돌아가려 하지만, 사람을 치어 죽였을지도 모른다는 죄의식과 불안은 그녀를 옥죄고, 그녀의 정신과 일상은 서서히 무너져 내린다.