Uyuni

In a world where technological progress is conceived as an arrow pointing forward, why do some people insist on continuing to work with equipment others refer to as obsolete? Analog Thinking answers that question by documenting the meticulous work of those who choose that path. The screen becomes filled with wonderful objects—optical toys, cameras, projectors, film stock cans, moviolas… And the testimonies from those creators invite us to discover a universe that has a lot to do with both craftsmanship and the collective experience—an instance of thinking with your hands that is only possible with curiosity and patience. And among the words, practices and artifacts, Analog Thinking also saves a place for the images that are born from all of that. And it reminds us that, even in this digital age, they still have a lot to teach us about waiting and making mistakes, surprise and beauty.

The most transcendent and controversial event since the invention of the seventh art: the disappearance of photographic film. What for many people seems to be simply the result of technological evolution, brings with it paradoxes and contradictions that endanger photographic film heritage and accelerate its deterioration.

Directed by Andres Denegri.

Seven friends enjoy the potent nature that surrounds them in a cabin in the middle of the mountains. This film is part of the frame by frame diaries series Denegri has been making since 2008.

El río corre, el tiempo pasa. The river flows, time goes by. 2min. Made by Andrés Denegri in 2008.

Made by Andrés Denegri in 2008, working with Super 8mm loops and video. Final version in 35mm. Synopsis In Latin America, the 70s and 80s were years darkened by military dictatorships, which forced a policy of terror and extermination. Many of those who lived their childhood during that period have a personal history built as an extremely complex plot. Grito works with throbbing autobiographical memories and Images that resound in the head and block the throat. It is the last step in a series of audiovisual reflections about the relationship between identity, ideology and affection. A Super-8mm and a low-quality digital video entwine in the anachronistic construction of the familiar recollection.