Future Embodied

The future may be the most ambiguous category, both abstract and absolutely embodied in visions, hopes, gestures, desires and fears. This programme is based on films that, either facing that idea head‑on, or looking in the past and in the present for their substance, offer us intuitions, small openings that bring us into the game in this relation with the absolute otherness we all generate, that strange community to which we already belong out of affection and appropriation.

FUTURE EMBODIED 1

21 OUT / 18.45, Culturgest – Pequeno Aud.

Obsession and detail, vanishing lines in the already determined history of women, from one generation to the next. Pilar Palomero dives into a phrase from her grandmother’s diary, questioning how to continue those who came before, introducing a new time, that of film. Mania Akbari confronts the rules associated with body and motherhood, and their images, creating a film and a baby together with Douglas White, and declaring desire as a reinstatement in the world.

FUTURE EMBODIED 2

23 OUT / 19.15, Culturgest – Pequeno Aud.

Obsessively looking at one thing when someone talks about another: paying attention to the here and now, while the image brings in other times in a paranoid game on the artist’s responsibility. Then Breton and Trotsky write the Manifesto Towards a Free Revolutionary Art in Mexico: a game of attention and detail, two actors between the depiction of the past and the limbo of the future.

FUTURE EMBODIED 4

25 OUT / 19.00, Culturgest – Pequeno Aud.

Two films making up the possible oracles in the present—imagination and collective unconsciousness contaminated by history and the representations of our time. Sarah Vanagt asks children to look at marks taken in their cities and envision the future. Under the August sun in New York, Brett Story builds a choir of the present that enables us to imagine the coming future.

FUTURE EMBODIED 3

20 OUT / 14.00, Culturgest – Pequeno Aud.

A solar eclipse introduces an exceptional space‐time. Delphine Seyrig’s voice carries us to Michaux speaking from a faraway country, a place fabricated from scratch, bringing promises of happiness and decline. Philip Hoffman films a farm, animals and trees as if tragedy and the violence that turns everything into something completely different in a second were lurking around.

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