Claudio Caldini

In his second feature film, Leandro Listorti establishes a parallel between two worlds he seems to know well: that of plants and that of cinema. This delicate cinematographic work, full of beautiful images—both archival and current—gives an account of the immense work of classification and preservation, and generously invites us to think about forms of representation and memory.

Super 8, B&W in color, approximately 25 minutes. Triple projection, sound in digital file. Music by Claudio Caldini. "Chromatic Ghosts operates through the primitive system of color photography, not to reconstruct its result but to decompose it, suggesting in the images a critique of the omnipresence of the automobile and an impossible escape into the natural world."

A woman hides in the forest, attempting to become one with the landscape.

What can't be pronounced. What can't be heard. Words don't work. One person. Another person. Sharing their eyes. Seeing through. Connection. Polishing and taking care of the sensibility, the transmission, the crystal. We observe each other. We feel each other. Purity. Forever. And always.

A brief documentary focused on the history of experimental Super 8mm filmmaking. Prominent figures of the "s8" boom of the 1970s discuss their work and their first encounters with the medium.

Film of "El Clú del Claun", directed by Claudio Caldini, which opened the show "I'll make you pay for this...!", from 1987. Shot at the Centro Parakultural, Buenos Aires, Argentina.

Super 8 film - U-MATIC Video hybrid. Music By Jorge Haro & Alejandro Fiori. 1990.

"Rain is a thing that surely happens in the past" Borges

A film about friendship. A portrait of Claudio Caldini.

Complete version in three parts. Reconstructed from VHS transfers of the original Super-8. Music and film by Claudio Caldini, 1988.

Made as a Visiting Artist at Liaison of Independent Filmmakers of Toronto (LIFT).

Short film that shows daisies throughout the day with music as an accompaniment.

When I first arrived in Barcelona in 1974 I decided to make a film about architect Antoni Gaudi's Park Guell. I found a film already conceived in the 1914 design; it was enough to follow the trajectories traced by Gaudi, imagine them as a labyrinth, reproduce the bursting of the mosaics through an analogous fracture of linear temporality. In the editing I tried to avoid showing passers-by. No human figure should get in the way of the appearance of that fantastic architecture. The stop-motion technique applied to the position and parameters of the camera still seems suitable for representing the undulating space of the park.

Branches, leaves, and flowers overlap and mingle. The film closes with a passage from philosopher Zhuang Zhou.

A moving painting of a flower, which takes advantage of the metamorphosing capacity of the digital image and the flatness of electronic colour.

Second collaboration with the composers Haro/Fiori. The images refer to the crisis of the representation of reality which emerges with the mass diffusion of electronic images on television and on video in the last decade of the 20th century. The piece also illustrates the discussion relevant at the time (1991-92), and still so today, on the replacement of experimental cinema with video art. The title alludes to a quote from Heinrich Rudolf Hertz, "The consequences of images will be images of consequences."

Solar meditation in the middle of a field of sunflowers, where vision and touch complement each other in a sensory immersion experience.

Fiction based on texts by Baudelaire, Sade, Lovecraft and Lautréamont.

A child plays on the beach; we are in home-movie territory. For years I thought I had made a film-poem, without knowing how to explain it, until Gilles Deleuze created the concept of "perception-image": A character acts on the screen and it is assumed to see the world in a certain way. But simultaneously the camera sees him, and sees his world from another point of view which thinks, reflects, and transforms the viewpoint of the character [...]. In short, perception-image finds its status, as free indirect subjective, from the moment that it reflects its content in a camera-consiousness which has become autonomous ('cinema of poetry'). (Gilles Deleuze, Cinema I: The Movement-Image).

Using observation as a starting point, the filmmaker constructs a dystopian science fiction chronicle in La República. Ironic observations on the trans-Platonic republic.

Aspiraciones is the beginning of a series in which Vadi-Samvadi is the second film. The grammar of Indian music suggests a micro-interval in a cinematic space-time.

The slow rhythm of regular breathing determines an analogous rhythm in the image: the fugue of a candle flame toward a virtual infinity generated by a lens with variable focal length. Each appearance of this vector (successive fixed positions of the zoom) corresponds to an equivalent interval of darkness, an identical number of unexposed stills. An attempt at metric cinema. The position of the flame varies slightly with each successive apparition and the displacement seems to stop for just a few seconds in order to introduce alternating stills in reverse order.

S/T (sin título) (untitled) 2007. Super 8, Silent. Transfer by Framediscreet. Made as a Visiting Artist at Liaison of Independent Filmmakers of Toronto (LIFT). Supported by The Canada Council For The Arts.