aluCine: Latinx Diversidad Programme
Curated by Sinara Rozo Perdomo, Artistic Director
This short-length program aims to map out the artistic field of experimental and fictional works created by Latin-Canadian artists during the last two years in Canada.
These works were selected for their artistic merit and innovative approach. Films selected for this program tackle themes of memory and oblivion, QT2SBIPOC immigrant/migrant experiences, rampant homophobia and transphobia, and the passage of time and mortality. They also display technical innovation through the reinterpretation of a variety of filmic techniques such as stop-motion, super8, 16mm, hand processing animation, and collage, as well as experimentation in the use of space, sound, and editing.
Program Running time: 51 min
Do I Have Boobs Now?
Dir. Milena Salazar & Joella Cabalu
2017 | Documentary | 6:35 min
In 2015, Victoria-based trans activist Courtney Demone launched the viral online campaign #DoIHaveBoobsNow, in which she posted topless photos of her transition on social media while undergoing hormone replacement therapy. One year later, Courtney revisits the global conversation she catalyzed on social media censorship policies and the sexualization of feminine bodies, and reflects on the impacts of being thrust into the critical spotlight as a visible trans activist and queer feminist.
Dir. Cecilia Araneda
2019 | Experimental | 3:50 min
A pathway through time captures the changing of seasons and the evanescence of love. Mer Bleue was shot on 16 mm and HD video at the Mer Bleue bog in Ottawa, Canada.
Nostalgia of My Pier
(Nostalgia de mi muelle)
Dir. Ben Donoghue & Julieta María
2018 | Experimental | 12 min
Mixing contemporary footage of the Caribbean coast of Colombia and scenes from the 1970s documentary series People and Places, shot by Jacques Madvo in Lebanon and the West Bank, the film explores the migration of Syrian, Lebanese and Palestinian people to Colombia in the early 20th century. Over three section elements of culture, place and transformation take place. A black woman preparing Arab food in Barranquilla, Colombia is juxtaposed with footage of a dinner celebration in Lebanon. A Colombian/Arab pop star is seen on TV in a Colombian/Palestinian restaurant. A mother of a pearl workshop builds on the disappearing tradition of Christian iconography of Palestine. Traditions from a place of memory a transformed and given a new trajectory in a new place.
The Shifting Sands
Dir. Madi Piller
2018 | Documentary | 9:26 min
Jacques Madvo’s documentary, Israel: Land of Destiny (1977), is abstracted in Madi Piller’s The Shifting Sands. Piller’s film asserts the intersection of history and identification with the Land through the personal struggles of the filmmaker’s father as a young Jewish refugee, arriving in 1946 in Palestine. High contrast, repeated images of the war in 1948 immediately after the establishment of a Jewish state in Eretz Israel (to be known as the State of Israel) interact with Madvo’s observations of Israeli society after its first thirty years of existence. The film juxtaposes images in a fractured timeline that reflects on the acceptance of the formation of a Jewish state. The work is framed within the philosophical thinking of Martin Buber and the recent history of Israel. Shifting sands can both erase and reveal human endeavour.
It Matters What
Dir. Francisca Durán
2019 | Experimental | 9:06 min
Absences and translations motivate this experimental animation in an exploration of the methods and materials of reproduction and inscription. The inquiry is set within a framework of practical and critical human relationships with other-than-human-species elucidated by the theorist Donna Haraway.
Exits and Entries (Entradas y Salidas)
Dir. Alexandra Gelis
2020 | Experimental | 10:30 min
Entries are Exit points to more complex Entries. Exits and Entries is a visual exploration, an assemblage of forces. The doing and undoing’s of my mother: a warrior.
The film is part a large project “Doing and Undoing: Poems from within,” a series of art interventions created during my mother’s cancer healing process.
We gratefully acknowledge the support of the Canada Council for the Arts.