In his Berlinale Shorts contender Motorcyclist’s Happiness Won’t Fit Into His Suit, Gabriel Herrera paints a nonconformist picture of the Spanish conquest of Indigenous lands, set in modern context
The play with different styles and formats of footage shot by the newcomer Emiliano Villanueva are coded in a clever, not too obvious manner, while Asuad’s award-winning editing is a thing to marvel.
We are supposed to “paint-by-numbers” according to Ulu Braun, but how that’s another thing.
Bob Quinn’s work ‘Atlantean’ is the starting point of Bárbara Wagner’s and Benjamin de Burca’s eighth joined short film ‘One Hundred Steps’ and is also referenced directly in it at one point
The family of the filmmaker Ana Elena Tejera lived in close relations to the dictatorship in Panama in the 80s, which was mirrored in the house of her grandparents.
Jan’s dream was to return to Curacao upon retirement, a place that stole his heart long time ago, where he as a much younger man had lived and worked.
Inspired by the theatricality of church sermons, Michael Omonua explores them from a performative angle, comparing them to theatre plays that need to be regularly rehearsed.
Regarding the beautifully composed and masterfully edited archival footage, the stand-out is a prolonged silent movie from the iconic Mille Miglia car race.
Despite securing impressive access to Tina and Bach in their luxurious Swiss home, the directors reveal very little about the singer’s last two decades of semi-retirement.
A snapshot photo of the stained glass window from Edgar Jorge Baralt’s childhood home in Caracas elicits memories in his short documentary video essay Window (Ventana) that has just premiered at Berlinale Shorts competition.
