Jazmín López

Made for the Venice Film Festival's 70th anniversary, seventy filmmakers made a short film between 60 and 90 seconds long on their interpretation of the future of cinema.

Deep in the forest a group of five friends wander around like a lion herd. Lost in their word games, they play and seduce each other while going back and forth into adulthood territory, in a desperate search to avoid their already written story.

On the banks of the city of Buenos Aires, among the rubble that forms the coast of her ecological reserve, she listens attentively to the confession. The rest, what follows, will be mere inconveniences and questions between a corpse and a double bass, between the imperfect city and its river, which will sow doubt about the resistance of its revenge.

What if I told you the plot of Vertigo is true, but the story even more perversely rooted in the traumatic history of a dictatorship, in a nation’s obsession with a woman who became a goddess and a savior, and in the real-life attempt to reincarnate her in the body of her successor? Through supernatural means, Isabel Martínez de Perón attempts to extract from the embalmed body of Eva Perón the dose of charisma she lacks.

The politically and environmentally challenged landscape of the Bolivian town of Uyuni is the backdrop for a tense exchange between a man and a woman, which is intercut with sound from Peruvian radio.

El origen del mundo is a short film that stages a tableau vivant of Gustave Courbet’s provocative painting of the same name. Captured in a single, continuous 10-minute take, the film centres on a model, Leila, posing to recreate the painting’s composition, while the director and crew discuss its historical censorship, the nature of the gaze, and the interplay between cinematic and painterly framing.

Four friends meet on a remote estate to create a cinematic re-enactment of three iconic works that embodied the social and artistic revolution of 50 years ago.