Alondra Mijangos
Nascimento : 1987-02-03, Acapulco, Guerrero, Mexico
História
Alondra Berber Mijangos, conhecida como a bebedora de absinto, é uma poetisa surrealista mexicana, polimática e bruxa de arte. Ela estreou no cinema em 2022 no Reino Unido com o filme Nourishment of the oblivion (Nutrição do esquecimento). Autor dos livros El péndulo de cal (2013) e El fuego de las mariposas (2015). Interessada em explorar diversas linguagens estéticas, filosóficas e subconscientes, ela é a criadora da caligrafia Midraf, um alfabeto pessoal canalizado a partir de sonhos e estados alterados de consciência. Escritor e diretor dos filmes Adeus, simbionte, Uma mulher é uma alteridade, O assassinato do minotauro, Pele de mauve, O banimento I e O banimento II. Seus filmes de ensaio e vídeos de arte híbridos foram exibidos em festivais de cinema no Reino Unido, França e Colômbia. Seu filme La mise à mort du minotaure (2022) foi indicado para melhor curta experimental no Festival de Cinema de Hallucinea, em Paris.
Producer
Caminhando em sua casa, Evelia vivencia o passado, o presente e o futuro ao mesmo tempo. Na vida simbólica que leva, governada pelo deus Janus, tudo ao seu redor parece falar com ela, até que nascem visões aleatórias poéticas. Aos seus olhos, há a tristeza lilás que outras mulheres sentiram antes de mudar de plano de existência, e a alegria de saber que ela existiu/existe/existirá de múltiplas maneiras. Através do estado de transe que desperta o olhar interior, a alma de Evelia se conecta com a anima mundi.
Cinematography
Caminhando em sua casa, Evelia vivencia o passado, o presente e o futuro ao mesmo tempo. Na vida simbólica que leva, governada pelo deus Janus, tudo ao seu redor parece falar com ela, até que nascem visões aleatórias poéticas. Aos seus olhos, há a tristeza lilás que outras mulheres sentiram antes de mudar de plano de existência, e a alegria de saber que ela existiu/existe/existirá de múltiplas maneiras. Através do estado de transe que desperta o olhar interior, a alma de Evelia se conecta com a anima mundi.
Editor
Caminhando em sua casa, Evelia vivencia o passado, o presente e o futuro ao mesmo tempo. Na vida simbólica que leva, governada pelo deus Janus, tudo ao seu redor parece falar com ela, até que nascem visões aleatórias poéticas. Aos seus olhos, há a tristeza lilás que outras mulheres sentiram antes de mudar de plano de existência, e a alegria de saber que ela existiu/existe/existirá de múltiplas maneiras. Através do estado de transe que desperta o olhar interior, a alma de Evelia se conecta com a anima mundi.
Screenplay
Caminhando em sua casa, Evelia vivencia o passado, o presente e o futuro ao mesmo tempo. Na vida simbólica que leva, governada pelo deus Janus, tudo ao seu redor parece falar com ela, até que nascem visões aleatórias poéticas. Aos seus olhos, há a tristeza lilás que outras mulheres sentiram antes de mudar de plano de existência, e a alegria de saber que ela existiu/existe/existirá de múltiplas maneiras. Através do estado de transe que desperta o olhar interior, a alma de Evelia se conecta com a anima mundi.
Director
Caminhando em sua casa, Evelia vivencia o passado, o presente e o futuro ao mesmo tempo. Na vida simbólica que leva, governada pelo deus Janus, tudo ao seu redor parece falar com ela, até que nascem visões aleatórias poéticas. Aos seus olhos, há a tristeza lilás que outras mulheres sentiram antes de mudar de plano de existência, e a alegria de saber que ela existiu/existe/existirá de múltiplas maneiras. Através do estado de transe que desperta o olhar interior, a alma de Evelia se conecta com a anima mundi.
Screenplay
The death of the minotavr talks about the concept of the heroine's journey. Suffering, horror and exhaustion lead the protagonist to a process of transformation, abyss and expiation, because only murdering to minotaur and everything he represents is possible to return to life. From the female gaze, it shows the depth of the emotional wounds caused by domestic violence; the same one that the surrealist Dora Maar lived and that ask why, as a society, instead of killing the minotaur, we blindly continue to send him women only to be devoured and ask them why they simply did not fight, why they did not try get out of the labyrinth.
Script
The death of the minotavr talks about the concept of the heroine's journey. Suffering, horror and exhaustion lead the protagonist to a process of transformation, abyss and expiation, because only murdering to minotaur and everything he represents is possible to return to life. From the female gaze, it shows the depth of the emotional wounds caused by domestic violence; the same one that the surrealist Dora Maar lived and that ask why, as a society, instead of killing the minotaur, we blindly continue to send him women only to be devoured and ask them why they simply did not fight, why they did not try get out of the labyrinth.
Director
The death of the minotavr talks about the concept of the heroine's journey. Suffering, horror and exhaustion lead the protagonist to a process of transformation, abyss and expiation, because only murdering to minotaur and everything he represents is possible to return to life. From the female gaze, it shows the depth of the emotional wounds caused by domestic violence; the same one that the surrealist Dora Maar lived and that ask why, as a society, instead of killing the minotaur, we blindly continue to send him women only to be devoured and ask them why they simply did not fight, why they did not try get out of the labyrinth.
Screenplay
Anémona and Pisces live a capicua experience: they are at the same time the woman who looks, the woman who is looked at, and the very act of looking. Between fractal scenes and images multiplied in reference to Man Ray, Anémona assumes the will to, through the state of trance, always be a foreigner within herself, while Pisces goes in search of an alien vision, to assume herself as the self and otherness to understand the world.
Writer
Anémona and Pisces live a capicua experience: they are at the same time the woman who looks, the woman who is looked at, and the very act of looking. Between fractal scenes and images multiplied in reference to Man Ray, Anémona assumes the will to, through the state of trance, always be a foreigner within herself, while Pisces goes in search of an alien vision, to assume herself as the self and otherness to understand the world.
Producer
Anémona and Pisces live a capicua experience: they are at the same time the woman who looks, the woman who is looked at, and the very act of looking. Between fractal scenes and images multiplied in reference to Man Ray, Anémona assumes the will to, through the state of trance, always be a foreigner within herself, while Pisces goes in search of an alien vision, to assume herself as the self and otherness to understand the world.
Director
Anémona and Pisces live a capicua experience: they are at the same time the woman who looks, the woman who is looked at, and the very act of looking. Between fractal scenes and images multiplied in reference to Man Ray, Anémona assumes the will to, through the state of trance, always be a foreigner within herself, while Pisces goes in search of an alien vision, to assume herself as the self and otherness to understand the world.
Editor
Screenplay
Director
Screenplay
Andrea and the simbionte travel to Toledo; when they arrive, they find a lonely bus station, which slowly turns off the lights for them. In the silence that surrounds them, Andrea watches the moment pass and with it her certainty about her future dream with the simbionte, feeling that everything she experiences is actually a memory.
Writer
Andrea and the simbionte travel to Toledo; when they arrive, they find a lonely bus station, which slowly turns off the lights for them. In the silence that surrounds them, Andrea watches the moment pass and with it her certainty about her future dream with the simbionte, feeling that everything she experiences is actually a memory.
Director
Andrea and the simbionte travel to Toledo; when they arrive, they find a lonely bus station, which slowly turns off the lights for them. In the silence that surrounds them, Andrea watches the moment pass and with it her certainty about her future dream with the simbionte, feeling that everything she experiences is actually a memory.
Screenplay
Art Designer
Editor
Concept Artist
Director
Assistant Director
After receiving a phone call, a man feels his inner world come to a standstill. Recalling the event decades later, he relives how everything changed in that moment and reflects on how quickly his life has passed and how his reality was constructed by all the things he repeated to himself like a mantra.
(Voice)
After receiving a phone call, a man feels his inner world come to a standstill. Recalling the event decades later, he relives how everything changed in that moment and reflects on how quickly his life has passed and how his reality was constructed by all the things he repeated to himself like a mantra.
