Just as important as the competitions at Oberhausen is the extensive Theme programme.
Today, the short film branches into a host of cross-genre forms that are not shown in cinemas, be they avant-garde, advertising or scientific films or a wealth of artists’ experiments. Oberhausen presents this differentiated form of the short film in thematic contexts, thus creating a forum for social discussions which, although originating from the topic of short film, actually go far beyond filmrelated issues and lead to an all-encompassing dialogue on the ways and workings of film production in the arts, new technologies and science.
Contact: Eva Hegge
In Latin America, “el pueblo” is a pregnant term: it can refer to an entire region, the people of a nation, the common people, or a village. During the 1960s and 1970s, the New Latin American Cinema endorsed “el pueblo” as an idea to mobilise revolutionary socio-political transformations. But today, this widespread ideological rallying cry (“Somos el pueblo” – “We are the people”) no longer carries the same impact or promise.
During the past ten years, however, Latin America has seen a wave of original and innovative artist films that have replaced the polemical and agitative declaration of collective identity with a series of questions: What is “el pueblo”? Can the grander constructs that it implies (Latin America, national identity) be illuminated or challenged by looking carefully at the behavioural, material, and environmental particulars of politically-charged micro-spaces? If “the people” can be located and represented with any precision, it is in the singular places and restricted sites where small-scale developments and “minor” stories occur. Such settings, which include the vast streets of Brasilia, the deep interior of the rainforest, Mexico‘s high-tech factories, a mining town in the Andes, or the rural plantations of southern Paraguay, are more than backdrops – the details we are shown carry a significance that has been shaped by each locale‘s histories.
While these films can produce the impression of proximity, they also complicate their representations with the strategic use of ambiguity and elliptical structures. Because we see effects but not their causes, our knowledge remains restricted. Because key events or factors are left outside the frame, we are left to consider a series of questions about which historical, political, and cultural frameworks might be most relevant to what we have seen – in films that deliberately risk leaving their meanings open in order to make unique and compelling demands on their viewers.
Federico Windhausen is a film scholar and curator based in Buenos Aires. For his most recent curatorial project, he presented the films of Marie Louise Alemann at TIFF Bell Lightbox (Toronto), the London Film Festival, and Cine Tonalá (Mexico City). In 2014 he led the first Oberhausen Seminar. His writing has been published in October, Hitchcock Annual, MIRAJ, Millennium Film Journal, Senses of Cinema and others. He is editing A Companion to Experimental Cinema and writing a book on Argentine experimental film.
El pueblo – Searching for Contemporary Latin America
6 – 10 May
El pueblo – Searching for Contemporary Latin America: From Passage to Chronicle
Angelus novus, Pablo Marín, Argentina, 2014, 3'
La Estancia, Federico Adorno, Paraguay, 2014, 14'
Ficções, Naldo Martins, Brazil, 2012, 2'50"
Corda, Pablo Lobato, Brazil, 2014, 7'30"
Evil Eye, Leandro Listorti, Argentina, 2013, 1'45"
La cabeza mató a todos, Beatriz Santiago Muñoz, Puerto Rico, 2014, 7'30"
Nariño, José Luis Bongore, Colombia, 2013, 8'07"
Echo Chamber, Guillermo Moncayo, France, 2014, 19
El pueblo – Searching for Contemporary Latin America: Máquina de Cidade (or, The City Machine)
Brasília, contradições de uma cidade nova, Joaquim Pedro de Andrade, Brazil, 1967, 23'13"
Forma livre, Clara Ianni, Brazil, 2013, 7'14"
Faixa de pedestres, Corpos Informáticos, Brazil, 2014, 3'39"
E, Helena Grama Ungaretti/Miguel Ramos/Alexandre Wahrhaftig, Brazil, 2014, 17'47"
Mind the Gap, Cristian Silva-Avária, Brazil/Germany/Chile, 2014, 12'04"
El hueco, Carlos Silva, Chile, 2013, 8'30"
El pueblo – Searching for Contemporary Latin America: The Theater of Conflict
Somos +, Kollektiv (Pablo Salas/Pedro Chaskel), Chile, 1985, 15'
Retrato n.1 Povo acordado e suas 1000 bandeiras, Edu Yatri Ioschpe, Brazil, 2013, 4'39"
MAFI - Mapa Fílmico de un País (6 partes), Juan Francisco González/Josefina Buschmann/Ignacio Rojas, Chile, 2015, 6'
Propaganda. 10mo aniversario, Cristian Alarcón, Peru, 2010, 2'18"
Zonas de rebelión / Dignidad en lucha, Colectivo los ingrávidos, Mexico, 2013, 1'26"
Transmisión / Desencuadre, Colectivo los ingrávidos, Mexico, 2014, 4'30"
2 de Octubre / Lejos de Tlatelolco, Colectivo los ingrávidos, Mexico, 2013, 4'05"
Transmisión / Percepción, Colectivo los ingrávidos, Mexico, 2014, 2'18"
Transmisión / Bruno 1600, Colectivo los ingrávidos, Mexico, 2014, 2'11"
Inflamável, Rodrigo Abreu/Mariana Bley, Brazil, 2016, 9'
El pueblo – Searching for Contemporary Latin America: Against Ethnography
A arca dos Zo'é, Dominique Gallois/Vincent Carelli, Brazil, 1993, 21'20"
Tropic Pocket, Camilo Restrepo, Colombia/France, 2011, 10'44"
Contornos, Ximena Garrido-Lecca, Peru, 2014, 10'48"
Raccaya Umasi, Vicente Cueto, Peru, 2011, 8'46"
Bilingüe, Leticia Obeid, Argentina/Germany, 2013, 25'30"
El pueblo – Searching for Contemporary Latin America: The Outsider In
Radio Belén, Gianfranco Annichini, Peru, 1983, 12'
Valentin de las Sierras, Bruce Baillie, USA, 1967, 10'
Trois gouttes de mezcal dans une coupe de champagne, Téo Hernández, France, 1983, 16'21"
Despedida, Alexandra Cuesta, Ecuador/USA, 2013, 10'06"
Cruce postal: Del otro nuevo viaje, Valentina Alvarado, Venezuela, 2015, 4'54"
Umbrales, Marie Louise Alemann, Argentina, 1980, 18'
El pueblo – Searching for Contemporary Latin America: Filmmaker as Urbanist
Agarrando pueblo, Carlos Mayolo/Luís Ospina, Colombia, 1978, 28'35"
Cocô Preto, Marcos Bertoni, Brazil, 2003, 16'
Amor e outras construções ou uma boca/que abarcasse/tanto cu, Gustavo Vinagre, Brazil, 2013, 3'24"
SP, Azucena Losana, Argentina/Brazil, 2015, 3'05"
Fotooxidación, Pablo Mazzolo, Argentina, 2013, 13'
El pueblo – Searching for Contemporary Latin America: Performing the Portrait
Hotel Punta del Este, Luis Sens, Argentina, 2015, 9'20"
Quem tem medo de Cris Negão?, René Guerra, Brazil, 2012, 25'02"
Filme para poeta cego, Gustavo Vinagre, Brazil/Cuba, 2012, 25'58"
El guaraches, Azucena Losana, Argentina/Mexico, 2013, 3'35"
Topics covered in recent years included "The Third Image – 3D Cinema as Experiment" (2015); "Memories Can't Wait - Film without Film"(2014), "Flatness: Cinema After The Internet" (2013), "Provoking reality: Mavericks, MouveMents, Manifestos" (2012), "Shooting Animals. A Brief History of Animal Film" (2011), "From the Deep: The Great Experiment 1898-1918" (2010), "Unreal Asia" (2009), "Bordercrossers and Troublemakers", "Whose History" (2008), "Kinomuseum" and "Don't turn around! Children, Childhood, Cinema (2007).