Carla Andrade

Portrait of Costa da Morte (coast region in Galicia, Spain) from an ethnographic and landscape level, exploring also the collective imagination associated with the area. A region marked by strong oceanic feeling dominated by the historical conception of world's end and with tragic shipwrecks. Fragmentary film that approaches to the anthropological from its protagonists: sailors, shellfish, loggers, farmers ... A selection of characters representative of the traditional work carried out in the countryside in the region, allowing us to reflect on the influence of the environment on people.

Taking the elegance and poetic power of the sea as main elements, Andrade subverts the role traditionally imposed on women. From observed objects to subjects that open their eyes to forgotten realities. Images that, when fading out, reflect a world whose sensitivity is mutating. Scenes of a dreamlike quality that borders surrealism so as to show the new order of things.

Made by ten directors in Pontevedra, Galicia.

No description available.

Atlantic Yellow is the name of the unique variety of granite from Serra da Groba, located on the most rectilinear and southern coast of Galicia, and a passage of initiation paths since the Sumerian culture. Still and moving images combine and are stained by the film material itself, redefining those notions related to the love for the insondability of the wild, but structurally assimilated as illusion and ignorance.

Drops of fire that create a universe of magmatic asteroids. Liquid and gravitational reality. Cosmic energy. Atomized Rhythm. Neurons of a liberated unconscious. Elimination of the idea of "soul" as "everything", reducing it to the condition of units of energy in perpetual process, elementary particles, without duration, that arise in perfect dependence. The "I" as a stream of units of force in ceaseless becoming that procures the illusion of an entity. Karmic chain. The idea that eternity resides in the transitory, the eternal belongs to it instantly. Eternity not as infinite duration but as absence of temporality. Universe of a mobile, procedural, relational and interactive nature of everything that exists. Here the "object" is conceived as something that is constituted, completed, lost and recovered with the vibrating rhythm of a universe in constant production.

Based on the mysterious theft of footage filmed in the jungle of the Congo Basin in the Central African Republic, the film reflects on the foundations of identity through a constellation of narratives and states of mind that, far from telling a linear story, are reflected, questioned, overlapped or self-determined through their position in a precise time and space.

The Chilean Atacama desert provides the backdrop for a series of static shots that foreground emptiness. The natural setting becomes a mental space. The artist systematically studies material limits, the invisible, the unintelligible. She explores emptied landscapes as allegories of sensory deception and metaphors of fragility.

We wake up in Paris, at the end of 2013, and immerse ourselves in a symbolic journey, through a subjective nature, which directly experiences reality, without analyzing it. Abolition of thought to be replaced by consciousness and unconsciousness. Intuitive Scan Through the variations of the sound and alterations of the image, we experience the transience and mutability of the meaning and formal perception of it. It is about penetrating directly into the object itself, and seeing it from within. In this case, the cups of eucalyptus, of which we see his life vibrating within itself. Each moving image, in a unique way, has its own communicability, and there is communion between isolated acts.

Water and night. The night flows through the water as a substance that cannot be grabbed, fugitive and mysterious, which changes places every time the camera focuses it. Carla Andrade shoots the lake with that feeling, between expectant and contemplative, which nourishes her wish to see and hear all that is out of the scene: the transformation of the night that, like a rumour, follows the course of the water.

Sibila leaves Constantinople for Naraío to spend his last days consumed by melancholy due to the evil of love produced by his twin brother Silván. Starting from one of the multiple narratives that in a syncopated way follow one another and interpolate in the story of Álvaro Cunqueiro "El Caballero", we recreate a small story through a refined aesthetic and based on the ellipsis to counteract the obvious vacui horror that characterizes his work .

A journey from the Hindu nowhere (kuch nahi) to its antipode, the Atacama desert, to experience the emptiness. There is a imposed culture where there is no room for emptiness. At the same time, and on the top surface, here you suffer from the complex of the mirror of the vampire; this place does not recognize him, Kuch Nahi is invisible.

First part of a non-narrative series that, through landscape, reflects on the representation of the emptiness and time in space; an emptiness symbolized by the white colour.