Luis Arnías

약력

Luis Arnías (1982) is a filmmaker from Venezuela who currently lives and works in Boston, Massachusetts. He completed the diploma program at the School of the Museum of Fine Arts, Boston, and in 2020 received his Masters in Film/Video from Bard College. Arenas is current fellow at Film Study Center at Harvard University.

참여 작품

Puerta a puerta
Director
A film produced with the same amount of care as the package at its centre, Luis Arnías and Jessica Sarah Rinland’s Puerta a Puerta records the preparation of a shipment in the United States and its attendant unboxing in Venezuela.
Terror Has No Shape
Director
At night in Boston, a bodega cat is the only witness when an alien rock lands among the trees in an empty lot. Crude special effects conjure a viscous white humanoid who is stalked by a figure on a motorcycle. Their encounter ends in ritual fire. A burning effigy and a Senegalese call to prayer combine modes of Afro-Venezuelan spiritual resistance from past and future into an ambiguous present.
Malembe
Director of Photography
Through its rhythmic montage and mix of observational and surreal imagery, Malembe forges oblique linkages between the United States and Venezuela, conveying the strange dissociation of being uprooted, of living between places. As a knife cuts through sky, through snow, and through fruit, quasi-ethnographic footage—with its conventional markers of music, food, ritual—joins with home-movie auto-portraiture of a New England winter, communicating a sense of dislocation at once vertiginously queasy and absurdly comic.
Malembe
Director
Through its rhythmic montage and mix of observational and surreal imagery, Malembe forges oblique linkages between the United States and Venezuela, conveying the strange dissociation of being uprooted, of living between places. As a knife cuts through sky, through snow, and through fruit, quasi-ethnographic footage—with its conventional markers of music, food, ritual—joins with home-movie auto-portraiture of a New England winter, communicating a sense of dislocation at once vertiginously queasy and absurdly comic.
멀리서, 다르고 닮은
Director of Photography
박물관 복원 작업 과정을 비교적 담담히 기록할 뿐이지만, 그럼에도 일하는 사람들의 움직임과 대화, 멀리서 아득히 들려오는 팝, 라틴댄스, 메르세데스 소사의 음악 등은 어떤 정서를 만들어낸다. 특히 복원은 헌신과 섬세한 감수성으로 이루어지는 작업임을 제한적이고도 엄격한 프레임 구성으로 묘사하고 있다. 사물의 보존을 통해 시간의 흐름을 멈추게 하는 일, 복원. 그리고 복원을 통해 삶을 한 부분을 재현하는 영화의 힘은 스크린 안에서도 밖에서도 서로 다르지만 닮은 모습으로 이어진다.
거리두기
Producer
“제 표는 편도 티켓이에요.” 감독이 설명하자 할머니는 그가 돌아오지 않을 거란 걸 깨닫는다. "거리두기"는 이 개인적인 깨닫음에 대한 영화이다. 길을 떠나 고향 땅에서 추방당하는 그. 작품은 일종의 회고록처럼 영화 내 무국적의 계보를 소환한다. 위대한 출발을 앞둔 순간에 대한 사적인 기록.