The Bare Wench Project

Projota - AMADMOL (A Milenar Arte de Meter o Louco)

(re)kindle

Ana and Helen, two divorced women, were close friends as teenagers. Today, amidst the corona virus pandemic and in quarantine, they get in touch after 20 years via internet. Through video conference calls, memories, sensations and emotions reflourishes.

Flow

A turbulent day in a life, painted by air.

Un Caso Excepcional

A young actress arrives late to a casting, making up a great excuse without knowing a small detail.

The Wildcat

A charismatic lieutenant newly assigned to a remote fort is captured by a group of mountain bandits, thus setting in motion a madcap farce that is Lubitsch at his most unrestrained. A wonderfully anarchic and playfully subversive satire of military life from one of the great comedy filmmakers.

Accordion Player

The last remaining film of Le Prince's LPCCP Type-1 MkII single-lens camera is a sequence of frames of his son, Adolphe Le Prince, playing a diatonic button accordion. It was recorded on the steps of the house of Joseph Whitley, Adolphe's grandfather.

Flow

Winnie the Pooh: 123's

Winnie the Pooh and friends teach counting.

Instruments of a Beating Heart

First graders in a Tokyo public elementary school are presented with a challenge for the final semester: performing "Ode to Joy" at the ceremony for the new incoming first graders. Ayame, who often struggles to keep up with the group, is determined to play a major part — the big drum.

À dix minutes de nulle part

The Stievenart family decides to spend their vacation far away and puts an ad on the internet. The Mailon family responds by offering to exchange homes. But the Stievenart family has an environmentally friendly house, while the Mailons consume a lot of energy.

Lion

A young lonely lion crosses an arid and desert Savannah. He discovers that the only source of water is kept by a tyrannical buffalo.

1-2-3

How can we visualize Body Ownership? We connected Body Ownership with an I-perspective, looking for images that uncover the multiplicity of the ‘I’ First person plural. Strapping two body cameras (GoPros) to our chests, we move in direct body contact. Our premise is that both I-perspectives of the cameras are at interplay with each other, showing that gaze is never produced by a singular entity. Instead, it is the result of bodies touching and reacting constantly to each other. The body cameras are joined by an external camera – a third-person perspective. While it may hold a position of power as the one who frames the image from the outside, it desires to dive into the collective I-perspective. BE-LONGING. At one point the gazes of the I-perspectives and the outside camera meet – they look at each other looking. Gazes conjoined with bodies. Body is spatiosocially bound, is situated.