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Disarm the Right to Violence!: Recent Mexican Experimental Short Films
Los Angeles Filmforum Vimeo & Zoom
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Hi all, Here is the Vimeo link to view tonight's screening. It is available now, and will stay available for a day. https://vimeo.com/476538388/68969f4faa Then join us at 7:30 pm tonight for the Zoom meeting. Topic: Intro and Discussion for Disarm the Right to Violence! Time: Nov 8, 2020 07:30 PM Pacific Time (US and Canada) Join Zoom Meeting https://us02web.zoom.us/j/82887592348?pwd=QjRwMDN1VEtKdTE3SU9pZ2txRjRLdz09 Meeting ID: 828 8759 2348 Passcode: 011434 One tap mobile +16699009128,,82887592348#,,,,,,0#,,011434# US (San Jose) +12532158782,,82887592348#,,,,,,0#,,011434# US (Tacoma) Dial by your location +1 669 900 9128 US (San Jose) +1 253 215 8782 US (Tacoma) +1 346 248 7799 US (Houston) +1 646 558 8656 US (New York) +1 301 715 8592 US (Washington D.C) +1 312 626 6799 US (Chicago) Meeting ID: 828 8759 2348 Passcode: 011434 Find your local number: https://us02web.zoom.us/u/kbW3nKJWW Thank you for joining us!




Event

Disarm the Right to Violence!: Recent Mexican Experimental Short Films

Los Angeles Filmforum presents
Disarm the Right to Violence!: Recent Mexican Experimental Short Films
In Person via Zoom: Filmmakers: Arian Sánchez Covisa, Aurora Fragoso, Gerardo M. Porras Garza, Erik Mares, Iliana Pichardo, Pablo Ramos, Andrea Rodea, and Facundo Torrieri
In conversation with Los Angeles Filmforum Programmers Madison Brookshire and Jesse Lerner
Sunday, November 8, 2020, 7:30 pm

A selection of films produced between 2018-2020 in intensive filmmaking workshops at Catedra Ingmar Bergman and Filmoteca UNAM, in collaboration with DocsMX, led by Travis Wilkerson. The films open an impelling window into a dynamic Mexican avant-gardeat once deeply political, highly engaged, and formally stunning. Part monument, part call to action, these films confront pressing matters in Mexico: 1) the long history of horrific violence against students organizing for human and democratic rights; 2) the disproportionate direction of that violence against womenfemicide. This group of films confronts these fraught subjects with poetic charge and lyrical hope. They dont simply depict violencethey use a host of cinematic techniques to embody that violence. Working with an archive of 16mm footage selected by the Filmoteca, the filmmakers vandalize the image itselfthey scratch, burn, bleach, and bury the film underground. Those analog, material enactments are then transformed into complex digital filmsa hybridized expression, between film and digital, past and present, urgency and reflection, beauty and horror. Drawing on the lessons of the Third Cinema, these films confront horror with equal parts rigor, analysis, and aesthetic grandeur. These remarkable short films offer an early glimpse into an inspiring movement where politics and aesthetics stand shoulder to shoulder, and cinema itself is lifted skyward. Travis Wilkerson

What: Disarm the Right to Violence!: Recent Mexican Experimental Short Films; In Person: Aurora Fragoso, Andrea Rodea! US Premieres

When: Sunday, November 8, 2020, 7:30 pm

Where: online via Los Angeles Filmforum

Tickets: Sliding Scale, Pay what you can, $20, $12, $8, $5, $0

For more information: www.lafilmforum.org or 323-377-7238.

Screening:
Pablo Ramos, This Square Demands Justice
2019, Digital, 5:58
Choral voices speak about Tlatelolco, where Federal Forces repressed and murdered students on october 2 1968.
Coro de voces sobre Tlatelolco, en donde el 2 de octubre de 1968 ocurrió una masacre estudiantil.

Elías Martín del Campo, The Concrete Monster
2019, Digital, 7:50
In the Jardines de Morelos neighborhood and its surroundings, dozens of women are killed every year. Although it has activated the "gender alert"a set of measures coordinated by the governmentEcatepec is the municipality where more femicides are committed. What lies beneath this concrete surface?

Macarena Hernández Abreu & Arian Sánchez Covisa, Black Brigades
2019, Digital, 9:20
What lies beyond that blackened memories? Our memories are infected by violent images that are infused into our imaginary. This film is an intervention of Tlatelolco, to take back this public space and heal its memories of murder.

Erik Mares & Andrea Rodea, Fissures
2019, Digital, 10:29
The image is what appears before us. The image that a world of representations imposes on us is an evasion, it is of absolute blindness. To position oneself before the image is to place oneself critically before the world.

Gerardo M. Porras Garza, Cómo olvidar un terror que se ha vuelto permanente (How to Forget a Terror Which Became Permanent)
2019, Digital, 15:31
How to forget a terror which became permanent is a film essay that explores the reasoning and motivations inside the regime which authored 1968s Tlatelolco massacre in Mexico City, the film portrays the creation of the foundational fear that defined the relationship between Mexico's civil society and its authoritarian government. The roles of the presidential administration, the media, the international community and civil society are illustrated by the use of archival footage and on screen intertitles.

Cómo olvidar un terror que se ha vuelto permanente es un ensayo documental que explora el pensamiento y las motivaciones del régimen responsable de la masacre de Tlatelolco en 1968, la película retrata la creación del miedo fundamental que definió la relación entre la sociedad civil mexicana y su gobierno autoritario. Los roles de la administración presidencial, los medios de comunicación, la comunidad internacional y la sociedad civil se ilustran mediante el uso de imágenes de archivo e intertítulos en pantalla.

Aurora Fragoso, Matamos dos pájaros de un tiro (Kill Two Birds with One Stone)
2019, Digital, 10:01
Violence from the word, from the harmless appearance of everyday life immersed in aggression. Expressions privately and publicly in a state of constant violence, and silence as a response, as a way to normalize and perpetuate violence. There is nothing left but to resist from the word to dismantle the hate speech.

Iliana Pichardo Urrutia & Facundo Torrieri, Los aparecidos (The Appearances)
2019, Digital, 12:26
Guión (Written by): Iliana Pichardo Urrutia
Fotografía (Cinematography), Montaje (Edited by) y Diseño sonoro (Sound Design):
Facundo Torrieri
Fifty years ago in Mexico, a social movement culminated in one of the largest student massacres in the world. The Appearances explores the social heritage of those events.

Gisela Gisela Guzmán, I Got Home Okay
2019, Digital, 5:40
In recent years, insecurity and thousands of feminicides in Mexico have led women to seek greater protection and take more precautions to return home safely. I Got Home Okay is a piece of appropriation that talks about how women use the means at their disposal with the intention of taking care of themselves in a violent environment.

Antonio Arango, Ouroboros
2019, Digital, 8:58

Location

Los Angeles Filmforum Vimeo & Zoom

Timezone: America/Los_Angeles
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