Cecilia Traslaviña

León Prozak lends his head to Mephistopheles for some circus numbers. Theses scenes, animations made by different plastic artist, are the centre of the film, the pleasure of paint on time. The animated paintings cover a wide range of topics, from politics to erotisicm, expressing their vision of the world.

A little girl devises an innovative scheme to reconnect with her imprisoned mother during Christmas.

Tulia finds a suitcase containing a series of mysterious drawings, notes and diagrams. Without knowing how, they appear in her house and from then on her life begins to change, she loses the idea of past and present, of sleep and wakefulness. Tulia has to find an order for the images and prevent the universe from suffering an irreparable change. This film navigates between reality and fiction, between humour and tragedy, to immerse us in the question of time and error.

The experimental animated film Song of the Flies (El Canto de las Moscas), translates the desolation caused by the violence of the Colombian armed conflict through the poetic voice of Maria Mercedes Carranza (1945–2003) and the audiovisual dialogue between 9 Colombian women. In 24 places, as a transit over the course of a day (Morning, Day, Night) a map of terror is drawn where massacres took place in Colombia in the 1990s. Archival images, the artists’ personal memories and the use of loops and analogue materials bring to life the landscapes ravaged by violence and build a polyphony of memory and mourning, a universal song of pain.

The horrors of a shipwreck, the bells of aforgotten lighthouse and the coming and going of the tides surround a tale about the sea. 'Sailor’s Grave' is the result of a workshop based on a work method taking its inspiration from the exquisite corpse game, a mechanism of collective creation where the participants manipulate and transform one another's drawings to construct an intuitive, improvised narration.

Movements in the Basement deals with the relationship between a woman and her house. The house is at the same time refuge and prison in which seductions and rejections are woven daily. The film is a visual answer to the book of poems: "Estancia y doméstica" by Chilean writer Mariela Malhue Moreno.