As a foulness shall ye know Them. Their hand is at your throats, yet ye see Them not; and Their habitation is even one with your guarded threshold. The wind gibbers with Their voices, and the earth mutters with Their consciousness. They bend the forest and crush the city, yet may not forest or city behold the hand that smites. The ice desert of the South and the sunken isles of Ocean hold stones whereon Their seal is engraven. They walk unseen. They Live.
As a foulness shall ye know Them. Their hand is at your throats, yet ye see Them not; and Their habitation is even one with your guarded threshold. The wind gibbers with Their voices, and the earth mutters with Their consciousness. They bend the forest and crush the city, yet may not forest or city behold the hand that smites. The ice desert of the South and the sunken isles of Ocean hold stones whereon Their seal is engraven. They walk unseen. They Live.
These are the dancing bodies in an agitated rapture: prelude to trance, invocation of the gods, consecration of intermittence. Here our point of view sparkles under the spell and trance of things gathered, fallen, yielding, pluvial, Mesoamerican wind, goddess breath, breeze of sticks. percussive woods.
This is an agitprop piece about the reflection and dispersion of an eroded slogan and claim: Tierra y Libertad (Land and Freedom).
Tlecáxitl is the sacred furnace where the new fire begins. This is the place where the sun, the moon and fire coincide in their cosmic dance to unleash vital irradiation. Part of Tonalli.
“Drawing on the ancient Nahuatl concept of the animating soul or life force, Tonalli engages the ritualistic powers of the cinema, summoning fire, flowers, and many moons into a frenetic and mesmerizing in-camera collage. Here, amid thickly swirling images and textured abstractions, the gods of creation and fertility manifest, dissolving into iridescent colors and dense, corporeal rhythms.” NYFF59
Tortillas are an ancestral and sacred food, our transmuted corn. The circular nourishment that represents the luminous and colorful side of the moon on which our life is nourished. This is the cosmic dance of the colorful Tortilla with the hyperkinetic fire that sustain our bodies and souls. Part of the Lunar Films series.
In this tape the Videofreex document an impromptu experimental art gathering in 1971, hosted by New York artist, Tosun Bayrak. Before entering the gathering, the Freex record their encounters with a police officer, passersby, and a member of Vegetarians for Ecological Action (an animals’ rights activist group) protesting the misuse of animals in performance art.
This is the state of mind in the post-Covid quarantine. This is the state of the images in the pandemic vortex. This is our post-Covid screen. The constant monitoring of a global demonic and satanic presence. Part of the Hauntology and Post-Covid series.
Radio reports analyze staged photographs we do not see, showing the victims of a mass murder committed by Mexican soldiers. The politicization of the film accounts for the duality between framing and mis-framing, and also shows the overflowing character of a process of transit.
A brief dialogue between Marianne Renoir and Pierrot and a short description-reading from ‘Pierrot le fou’ about Diego Velázquez – these intersect with a visual moment to constitute the outline of a perception and the occurrence of the idea of ‘el pueblo,’ of a meeting.
The film suggests a link between three political figures from the history of Mexican resistance: the Soldadera (woman guerrilla fighter), the Zapatista (member of the Zapatista Army of National Liberation), and the Normalista (students from the Ayotzinapa Normal School).
A cinematic place where the mountains crash into each other in a field of magma and fire. A landscape of events.
An elegy to the popular demands against ominous social and political events in the recent Mexico.
The Erosions series develop the concepts of oxidation, wear and entropy from an audiovisual and cinematographic perspective.