Jorge Ramírez

La Pocha Film is a film-diary of a road trip with friends based on a match of the La Pocha card game. Four perspectives that altogether portray a collective experience of friendship by intertwining chance with structure, portraying a space where play and filmic practice meet.

God is in your Google search engine, in your microwaved dinner, in your personal notepad, in your body dysmorphia, in your atheism, in the way you observe things. God, or the Internet, however you would like to call it, work similarly. Omnipresent, influential, and permeating everything in its path, at the same time and everywhere. An entity that materializes through the infinite traffic of images.

A series of sunsets filmed over the course of a year are traversed by rays of light that permeate the Super 8 film through a structure of intentional light leaks. These create overexposed images that, in turn, intermingle with virtual sunsets and landscapes, creating a continuous flicker between natural and artificial light. The film is based on the idea of “light machines,” understood as devices capable of controlling and transforming light. Several of these machines are used in this film: the camera itself, filters, 3D lighting, flashlights, and crystals, which serve to materialize a constant contrast between structural control and the unpredictability of capturing flashes of light.

A phantasmagoric journey about the disappearance of a collective happiness within the Call of Duty: Modern Warfare 2 video game and its community of Trickshots.

The need to measure and control time is materialized in this super 8 film by equating the 15 meters of the cartridge with the 15 meters of a tape measure that proposes different ways of measuring the passage of time. The frames of landscapes, texts, erosions and memories reformulate the meters and centimeters that make up the duration of a reel. 4 shots, each shot has a different position, each shot has 375 cm, each shot dilates time.