A Shifting Pattern
Isaac Sherman, United States, 2024, 6 minutes 
South American Premiere

A collected geography of local flora; appearing, disappearing, reappearing, enmeshing. Afterimage becomes before-image, physiology and pathology at play. The will to walk aimlessly, rejuvenated, as stasis turns to movement and back again.     *Please note*  - The afterimage effect in this film is drastically improved when viewed in a very dark room.  - This film contains some strobing images.   Music: Nicole McCabe ..... saxophone Alex Babbitt .......... flute Isaac Sherman ...... synthesizers, composition  Thank you: Mike Stoltz Alee Peoples Colin Brant Natalja Kent Farhad Ebrahimi

In Place of a Hollow Tree
Eislow Johnson, United States, 2024, 8 minutes
World Premiere

Migrating from the Amazon basin across northern Illinois, a flock of chimney swifts flutter without perching, using a natural form of radar to navigate. The pulse of infrasound from deep ocean waves vibrates the ground and emanates up, guiding the birds amid disrupted air.  Open space heard becomes turbulent, resonant space. Various forms of tuning elicit a strained acoustic ecology between altitudes.

Kauai'o 'o'o
Samy Benammar, Canada, 2024, 4 minutes
South American Premiere

In 1987, the song of the kauaʻi ʻōʻō, a bird endemic to Hawaii, is recorded for the last time. Its song serves as the starting point for a visual exploration of the landscape and the winged creatures inhabiting it. Mostly shot on location, the film is a visual poem caught between the chaos of disappearance and the calm of an aerial melody that takes us on a journey through seasons and territories.

The Trace of the Box - Technicalized Good People
Moojin Brothers, South Korea, 2022, 7 minutes
Argentine Premiere

Moojin Brothers focuses on various beings that have eternal life with technicalized images. The plants and TV screens in Nam June Paik’s TV Garden (1974) maintain their current images without dying, rotting, or breaking down through the behind-the-scene maintenance and technological replacement. The chickens, virtually released in TV Garden by artists, are also isolated from other living species or external changes, and live forever free from evolution, reproduction, creation and decomposition. It seems to symbolize a future utopia in which the ecosystem is won over and maintained by technology. The chickens may be real like the plants in TV Garden or virtual images as the images on the TV screens. The only clear thing is that they are easily replaced by cloning technology or safely preserved with mechanical equipment. In this kind of world, humans remain as “good people” who do not need to consume chickens or cage them for breeding. By borrowing the voice of artificial intelligence in the video, the artists ask humans who accept a technicalized life without any resistance if such an immortal life is what they really want to manifest with technology. 

Fear of Floating
Dianna Barrie & Richard Tuohy, Australia, 2024, 8 minutes
South American Premiere

Playful formalism at the coast. A film about two people shooting the same horizon and the staccato experience by which we piece together knowledge of place. Informed, but jumbled, the empirical, the guidebook, a scrap of interpretation board. A half remembered history class, a transliterated place name.

Brume of the Billows
Rodrigo Faustini, Brazil, 2024, 4 minutes
Argentine Premiere

Modulating attention between channels, like shifting through the radio, one can reveal messages in noise. This was the basis for Hedy Lamarr's "frequency hopping" technique, which now structures mobile networks and its siren songs. At the beach, transmissions fail, we hop waves, wander to sintonize, and accumulate dead time, asperged. Salt water blocks high frequency signals, found shells resonate.

Vibrant Matter
Pablo Marin, Argentina​, 2024, 7 minutes

Human absence gives rise to a collection of spaces that make up an urban symphony of backdrops that become determining presences. A moving landscape centered on the surface of a fractured and empty reality, re-erected as a dark celebration of that which is usually kept in the shadows. Vibrant matter, a titled based on a possible definition of cinema, is the portrait of a world that spins without direction, between dream and desolation.   “It is not enough to collect the remains of the shipwreck. We must install, in the midst of the ruins, the marks of obsession." -Maria Negroni

What Humans See as Blood, Jaguars See as Chicha
Luciana Decker, Bolivia, 2024, 29 minutes
Buenos Aires Premiere

An experimental ethnographic study of a region in the artist’s native Bolivia that was once the centre of the Tiwanaku civilization. The film operates across temporalities and explores the balance between human, animal, and natural worlds in this rural area close to La Paz. Decker’s embodied 16mm camera describes details of the hands of women at work, as they tend to the land and prepare celebratory food and votive objects. Ceramics and archaeological remains are filmed in a series of abstracted fragments whilst a musical performance on the city street is documented in an extended single take. New ecological frameworks are proposed as the work investigates the lived experience of communities now, alongside storytelling about deities, sacred objects, and spaces in the Andes.