Greyscale
Simon Payne, UK, 3 minutes
South American Premiere

The rolling stripes that this piece begins with suggest a sense of depth from the outset, and evoke a seascape. As the stripes begin to separate out, increasingly complex waveforms accrue. The image plane is not just a surface phenomenon: we are drawn to see through it. 

Intercessões
Direcao Coletiva, Brazil, 3 minutes
Argentina Premiere

In 2024, in the city of Manaus, as part of the Olhar do Norte Amazon Film Festival program, an experimental 16mm film workshop was held, taught by filmmaker and photographer Raffaella Rosset, a beautiful immersion in 16mm material. Through experimentation, the participants were able to paint directly onto the 16mm film, creating possibilities, freedom of thought and construction, thus generating a collective film full of feelings. The film also features the Rio Negro and its tributaries, which magically bathe the city of Manaus, which in the Manaós language means “Mother of the Gods”. All hail the magic of cinema. 

Wrecks of the Day
Jean-Yves Roy, France, 9 minutes
South American Premiere

Mysterious blue lights have spread across the city, depriving the living of sleep. They wander through the nightlessness like spectres. But some plants, the last sustenance of the wild and the dream, are developing curious abilities.

PS
Zsolt Gyenes, Hungary, 3 minutes
South American Premiere

This small cinematic exchange offers a glimpse into a women's collective based in Agadez (Niger). The camera zooms in on womens working hands revealing the harsh conditions of their daily lives. While separating peanuts from their shells, the women talk to each other about the men passing by and the film maker being present.The short encounter questions how the camera could be used by both the women in front and behind the camera to find a way of getting in contact with each other while not sharing a common language.

Palm Sunday
Nathan Swann, USA, 3 minutes
South American Premiere

Palm Sunday drifts between presence and absence, in the corners, edges, and spaces behind our experience. Both haphazard and precise, its images layer upon each other like a tapestry winding and unwinding. Rhythms emerge through repetition, like a song finding its root note. In this way, the film echoes liturgical movement in gestures repeated, images revisited, a quiet ritual of seeing and remembering.

Hiatus B
Jenelle Stafford, USA, 8 minutes
World Premiere

regarding passage 
to the light house (B-theory of time) 
the great ecstasy of nothing-much

Lómatjörn
Zoe Chronis, Iceland, 14 minutes
South American Premiere

A shore walk with Else, Sigurður, and Jens Jakob includes many lómar (red-throated divers), among other birds, plants, and rocks. Primarily edited in-camera with a MiniDV camcorder on July 5, 2025.

June 25th. Andrei Tarkovsky, visit to his grave
Juan Camilo Moreno, Colombia, 5 minutes
Argentina Premiere

In December 1986, the Russian filmmaker and poet Andrei Tarkovsky died of cancer at the age of 54, after having been exiled from the USSR.  
 
One summer afternoon in the 21st century, accompanied by a super 8mm camera, I traveled to visit his grave. This film is the journal of this journey.   

Little Balls of Mercury
Andrea Marquez, Argentina, 8 minutes

Through the recounting of a dream—an image from the past that insists on reappearing—the film dissects and displays the very materials it’s made of: still photography, moving image, narration, as if these cinematic elements were minerals and gems in a museum showcase. In doing so, it transforms them into an evocative exploration of what is preserved and what is lost. An archive of broken and silent images? A mausoleum of time? 
 
By weaving together fragments of memory and cinematic form, the film not only examines the nature of preservation but also invites reflection on cinema itself. What became of its promises, its potentials, or, to borrow from Gilles Deleuze and Thom Andersen, the thoughts we once had?

Puroandar / Language of the Entrails
Luciana Decker Orozco, Bolivia, 13 minutes
Argentina Premiere

A journey to the underworld begins within our own entrails, shaped by the flesh we consume and the softened crumbs moistened by the saliva of mothers. This film explores the becoming of different times, from the intimate rhythm of digestion to the vast expanse of geological eras: stalagmites formed over millennia, fossilized dinosaur tracks, and the echoes of primordial movements, akin to growling. Inspired by the chapter Puro Andar from El Pez de Oro by Gamaliel Churata, which states that "we all carry the dead alive; that the dead live."