Andrea Novoa

"Ningún Lugar Para Morir begins from an unexpected change of place. Everyday images in a territory with memories of war in southern Chile coexist with those of a childbirth. Light and darkness meet in colors, blacks and whites. The film portrays a forest, a death, and glimmers of light. Dedicated to Lena." - Lightcone

After having shared a common experience in Cuba, twelve filmmakers say goodbye to return to their countries and make a pact: to make a collective film that answers the questions: what does it mean to plagiarize images and how to do it in the distance? The mechanism is unusual: a director makes a short and sends it to the next director, who in turn makes his own short for the purpose of plagiarizing the one he received. And so the chain of plagiarism continues until it reaches the last one. Each one interprets in their own way what it means to plagiarize the received film. The first link in the chain is James Benning, one of the world's most patient filmmakers. His extensive plans are replicated in the following fragments. Disobedience moves the exercise away from literality and an exploration of the texture of the images begins. In its repetitive mechanism, we can see that cinema is, in addition to record of reality, an art of images and sound. (Santiago González Cragnolino)

The encounter of three movies, three territories. A personal story that portrays, through experiments revealed by images and extracts from a diary, lived meetings and inhabited places filled by forces of nature, colors, incidents and struggles.

The encounter of three movies, three territories. A personal story that portrays, through experiments revealed by images and extracts from a diary, lived meetings and inhabited places filled by forces of nature, colors, incidents and struggles.

The encounter of three movies, three territories. A personal story that portrays, through experiments revealed by images and extracts from a diary, lived meetings and inhabited places filled by forces of nature, colors, incidents and struggles.

간호사가 되려고 병원에서 연수를 받는 ‘매기’는 대출금을 갚지 못해 경제적으로 어려움을 겪는다. ‘매기’의 전 남자친구 ‘트래비스’는 ‘프로그램’을 운영하는 회사의 지원자 모집원이다. ‘프로그램’은 계약 기간 동안 노동력을 제공하고 채무를 변제받는 제도이다. ‘매기’는 빚을 탕감하고 새 출발을 하고자 ‘트래비스’에게 프로그램에 넣어달라고 부탁한다. 그러나 ‘매기’는 직장도 있고 신용도 양호해서 지원 조건에 맞지 않는다. ‘매기’의 간곡한 부탁에 ‘트래비스’는 마지 못해 지원서를 조작하여 프로그램에 넣어 준다. 하지만 프로그램의 작업 현장은 매기의 예상과는 전혀 다른 곳이었는데...

간호사가 되려고 병원에서 연수를 받는 ‘매기’는 대출금을 갚지 못해 경제적으로 어려움을 겪는다. ‘매기’의 전 남자친구 ‘트래비스’는 ‘프로그램’을 운영하는 회사의 지원자 모집원이다. ‘프로그램’은 계약 기간 동안 노동력을 제공하고 채무를 변제받는 제도이다. ‘매기’는 빚을 탕감하고 새 출발을 하고자 ‘트래비스’에게 프로그램에 넣어달라고 부탁한다. 그러나 ‘매기’는 직장도 있고 신용도 양호해서 지원 조건에 맞지 않는다. ‘매기’의 간곡한 부탁에 ‘트래비스’는 마지 못해 지원서를 조작하여 프로그램에 넣어 준다. 하지만 프로그램의 작업 현장은 매기의 예상과는 전혀 다른 곳이었는데...

Women, landscapes and manifestations of color meet experimentally with the possibilities of the artisanal copying technique on 16mm.

Women, landscapes and manifestations of color meet experimentally with the possibilities of the artisanal copying technique on 16mm.

Women, landscapes and manifestations of color meet experimentally with the possibilities of the artisanal copying technique on 16mm.

Night scenes of a distant and silent Havana. Anonymous voices tell us about places they would like to visit and come back, places they would like to know and never forget. They tell us about the transition moment in which they coexist, a state sketched in the traveler as a building facade cut by the light of the street lamps at night. Impressions of Andrea Novoa’s state of trance, a flaneur, who experiences the mental space that appears when crossing corners and streets of a foreign city, suspended in the time.

Night scenes of a distant and silent Havana. Anonymous voices tell us about places they would like to visit and come back, places they would like to know and never forget. They tell us about the transition moment in which they coexist, a state sketched in the traveler as a building facade cut by the light of the street lamps at night. Impressions of Andrea Novoa’s state of trance, a flaneur, who experiences the mental space that appears when crossing corners and streets of a foreign city, suspended in the time.

Night scenes of a distant and silent Havana. Anonymous voices tell us about places they would like to visit and come back, places they would like to know and never forget. They tell us about the transition moment in which they coexist, a state sketched in the traveler as a building facade cut by the light of the street lamps at night. Impressions of Andrea Novoa’s state of trance, a flaneur, who experiences the mental space that appears when crossing corners and streets of a foreign city, suspended in the time.

Night scenes of a distant and silent Havana. Anonymous voices tell us about places they would like to visit and come back, places they would like to know and never forget. They tell us about the transition moment in which they coexist, a state sketched in the traveler as a building facade cut by the light of the street lamps at night. Impressions of Andrea Novoa’s state of trance, a flaneur, who experiences the mental space that appears when crossing corners and streets of a foreign city, suspended in the time.

Night scenes of a distant and silent Havana. Anonymous voices tell us about places they would like to visit and come back, places they would like to know and never forget. They tell us about the transition moment in which they coexist, a state sketched in the traveler as a building facade cut by the light of the street lamps at night. Impressions of Andrea Novoa’s state of trance, a flaneur, who experiences the mental space that appears when crossing corners and streets of a foreign city, suspended in the time.