In March CinemaAttic is back in Leith, at the incredible LEITH ARCHES venue, and also at CRAIGMILLAR LIBRARY, with an extraordinary experimental showcase directly from Colombia.
A showcase presented by Cinemaattic and Cinetoro
CRAIGMILLAR (Screening + Q&A)
Wednesday 6th of March 2024
Craigmillar Library, 101 Niddrie Mains Road, Edinburgh, EH16 4BG
LEITH (Screening + performance)
Thursday 7th of March 2024
Doors open at 7.30pm
Screening starts at 8pm
6 Manderston St, Edinburgh EH6 8LY (Leith Walk)
A NEW HORIZON FOR CINEMA IN COLOMBIA… Go, go beyond what is established. Break the scheme. Get out of the line. Create…! Take it from everyday life, experience, sensations, flavors, sounds… And create from your own story, your voice. Experiences far from yours. Hidden voices. The experience in experimentation: Possibility, disruption, narratives and aesthetics.
The works compiled on this trip to Edinburgh move between the interstitials of violence, disappearance, the monstrous, nostalgia, cruelty and the absence of the physical or ethereal body. The search for affection, acceptance, forgiveness are chapters of violence in our society, which approach from other sensory fields of image and sound: the archive, analogue and digital animation merge into experimental aesthetic dimensions where poetry flourishes. These pieces, approached from other perspectives, present us with Colombia that has yet to be told.
Music video performance:
Natura Morta/Materia Fantasma
Bibiana Rojas and Maria Mallol join forces to create a video concert, merging their projects “Materia Fantasma” and “Natura Morta.” Materia Fantasma emerges as an open format that shapes Bibiana’s explorations into live animation and its connection with music. After extensive experience with musicians in projects like Curruncho (alongside Mange Valencia) and audiovisual explorations with Santiago Botero and Diego Cortes, Bibiana began to create hybrid and open formats of live sound and animation. These formats aim to explore collaboration with other artists and musicians, seeking diverse stages that allow experimentation and dialogue between music and visuals. Natura Morta is the solo project of Colombian musician and performer Maria Mallol Moya. Her sonic exploration is a dialogue between the mind and the soul, creating an oneiric landscape of emotion and meditation on the hard contradictions and depths of life.
Short Film Selection:
Todas mis cicatrices se desvanecen en el viento
All My Scars Vanish in the Wind
Angélica Restrepo Guzmán y Carlos Velandia
Colombia / 2022 / 14′
Among intrusive and sought-after memories, a woman hears a disconcerting call from the depths of her being. A cryptic cry for help that becomes intelligible guides her to the original wound, to her inner child, becoming her own protector.
Juliana Hernández Rocha
Colombia / 2021 / 8′
A monster is chasing me. A type of cancer that opposes my wishes and multiplies my hardships. I run away. There is no way out from the disease that spreads, rots organs and clouds thoughts.
“Tercer Mundo” is wanting to open my stomach to look for it, pierce it, extract it and, through it, form a different body. A new species, a creature part of social and fictional reality, hybrid. The desperate search for wanting to continue existing.
El Sonido de los Grillos (The Sound of Crickets)
Juan David Cárdenas Maldonado, Bibiana Rojas Gómez & Julián David Gutiérrez
Colombia / 2022 / 40′
After Aldemar’s disappearance, his wife decided to remove all uncertainty by including him in the list of deaths in the 1938 national census. Today, 83 years later, I repeat my grandmother history. I try to find myself among the figures to be able to put an end to the torture that my own disappearance has also meant.
¡Aquí miramos diferente! (Here we look differently!) Those of us who make Cinetoro understand experimental cinema as one that has limits and horizons beyond the perimeter of spectacularity, of technical correctness, of the themes and forms that are on the agenda: an imperfect cinema, in the words of Julio García Espinosa: which accepts its artisanal condition and joins Richard Sennett’s request for the recovery of the consciousness of corporeality. A cinema in which poetry and art come together, which reflects, problematizes and questions the construction of the image: its production models, its technique and its materials. A cinema that conceives the performativity of the images it puts in the world, which is the bottle in the message and turns chaos into cosmos. A cinema to which all the images that preceded it belong because it is an archive of itself. A cinema with a territorial imprint, which redesigns, mutates and then pronounces itself to the entire world.
The cinema that concerns us
As Jonas Mekas said, on the centenary of cinema: ‘The real history of cinema is the invisible history – history of friends getting together, doing the thing they love. For us, cinema is beginning with every new buzz of the projector, with every new buzz of our cameras!’ Our hearts jump forwards, my friends. A history of friends, in the city of Toro, who were wondering what to do with the legacy of José María Castro’s graphic archive, gave rise to the formation of Cinetoro. A question that has been changing shape and expanding for fifteen years now.