POSTPONED - Disarm the Right to Violence!: Recent Mexican Experimental Short Films
POSTPONED Indefinitely due to concerns around COVID-19. New date to be determined.
Los Angeles Filmforum presents
Disarm the Right to Violence!: Recent Mexican Experimental Short Films
Sunday, March 15, 2020, 7:30 pm
At the Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd., Los Angeles CA 90028
A selection of films produced between 2018-2020 in intensive filmmaking workshops at Catedra Ingmar Bergman and Filmoteca UNAM, in collaboration with DocsMX, led by Travis Wilkerson. The films open an impelling window into a dynamic, emerging Mexican avant-garde—at once deeply political, highly engaged, and formally stunning. Part monument, part call to action, these films confront pressing matters in Mexico: 1) the long history of horrific violence against students organizing for human and democratic rights; 2) the disproportionate direction of that violence against women—femicide. This group of films confronts these fraught subjects with poetic charge and lyrical hope. They don’t simply depict violence—they use a host of cinematic techniques to embody that violence. Working with an archive of 16mm footage selected by the Filmoteca, the filmmakers vandalize the image itself—they scratch, burn, bleach, and bury the film underground. Those analog, material enactments are then transformed into complex digital films—a hybridized expression, between film and digital, past and present, urgency and reflection, beauty and horror. Drawing on the lessons of the Third Cinema, these films confront horror with equal parts rigor, analysis, and aesthetic grandeur. These remarkable short films offer an early glimpse into an inspiring movement where politics and aesthetics stand shoulder to shoulder, and cinema itself is lifted skyward. —Travis Wilkerson
For more information: www.lafilmforum.org or 323-377-7238.
Andrea Rodea was born on January 4, 1989, in Mexico City. She studied communication in a private school and at the end (unsatisfied by the career) she goes to New York for 6 months to study a series of workshops at Mono No Aware focused on the realization of analog cinema, super 8 and 16 mm. After this trip she returned to Mexico and began to study a series of philosophy seminars focused on the image at Filmoteca UNAM and on Campus expandido MUAC. In turn, together with her best friend, she created a small production company called Rhizomes Films, where they begin to freelance audiovisual works and also explore their concerns within the image.
A chance meeting in Havana with legendary Cuban film propagandist Santiago Alvarez changed the course of Travis Wilkerson's life. He now makes films in the tradition of the “third cinema,” wedding politics to form in an indivisible manner. In 2015, Sight & Sound called Wilkerson “the political conscience of American cinema.” His films have screened at scores of venues and festivals worldwide, including Sundance, Toronto, Locarno, Rotterdam, Vienna, Yamagata, the FID Marseille and the Musée du Louvre. The NY Times called his most recent film Did You Wonder Who Fired the Gun? “an urgent, often corrosive look at America’s past and present through the prism of family, patriarchy, white supremacy and black resistance.” His agit-prop essay on the lynching of Wobbly Frank Little—An Injury to One—was named one of the best avant-garde films of the decade by Film Comment and a "political-cinema landmark" by the LA Times. His work with Erin Wilkerson in Creative Agitation was included in the Venice Biennale. His writings on film have appeared in Cineaste, Kino!, and Senses of Cinema. He has taught filmmaking at the University of Colorado, CalArts, Pomona College, and Vassar. He is also the founding Editor of “Now: A Journal of Urgent Praxis.”
This Square Demands Justice
By Pablo Ramos
2019, Digital, 5:58
The Concrete Monster
By Elías Martín del Campo
2019, Digital, 7:50
In the Jardines de Morelos neighborhood and its surroundings, dozens of women are killed every year. Although it has activated the "gender alert" - a set of measures coordinated by the government -, Ecatepec is the municipality where more femicides are committed. What lies beneath this concrete surface?
Macarena Hernandez Abreu & Arian Sanchez
2018, Digital, 9:20
Erik Mares & Andrea Rodea
2019, Digital, 10:29
The image is what appears before us. The image that a world of representations imposes on us is an evasion, it is of absolute blindness. To position oneself before the image is to place oneself critically before the world.
How to Forget a Terror That Has Become Permanent
Gerardo M. Porras Garza
2019, Digital, 15:31
Kill Two Birds with One Stone
2019, Digital, 10:01
Violence from the word, from the harmless appearance of everyday life immersed in aggression. Expressions privately and publicly in a state of constant violence, and silence as a response, as a way to normalize and perpetuate violence. There is nothing left but to resist from the word to dismantle the hate speech.
By Ileana Pichardo Urrutia & Facundo Torrieri
2019, Digital, 12:26
I Got Home Okay
By Gisela Guzmán
2019, Digital, 5:40
In recent years, insecurity and thousands of feminicides in Mexico have led women to seek greater protection and take more precautions to return home safely. I arrived well is a piece of appropriation that talks about how women use the means at their disposal with the intention of taking care of themselves in a violent environment.
2019, Digital, 8:58