The Triumph of Sodom

A remake of the 1943 film of the same name.

Batato Barea, the “clown/intellectual/transvestite” was a genius of the underground scene who was able to represent all the nuances of a changing country with his own poetic radicalism, in such a unique way that it made him irreplaceable. That paradox is the basis for this documentary by Peter Pank and Goyo Anchou, two authors in search of a character and his legacy, but also his irreplaceable presence and instantaneous, evanescent theatricality, which challenged every mandate and convention.

Each love story in the film takes us to a different past, from a different present. The hope for a bright future is an illusion that keeps us expecting, as it unleashes the anguish of waiting for something extraordinary to happen. In this strange time, shaped by memory pieces and by what could have happened but didn’t, is where the characters of the film inhabit, awaiting the arrival of the future. The storyteller in “In the Future” is a ghost. My ghost. The film explores several love stories, both heterosexual and homosexual, in different pasts and presents, focusing on memory and what might have happened.

Heterophobia traces the quick fall into hell of Mariano. A young gay man who, having been first raped and then rejected by an heterosexual friend with whom he had vague romantic illusions, has a sentimental journey from initial guilt and messianistic will of redemption, through flaring spite, up through castrating rage, before arriving to a final conclusion: that the the only possible action against patriarchy is revolution. Made in the margins of the Argentine audiovisual community (from which some of the creative team have been effectively blacklisted). It was produced according to the precepts of guerrilla film making is a romantic torch song--not melancholic, but actually demanding a torch with which to ignite the world.

A comedy about a straight guy who thinks his girlfriend is leaving him because he loses in comparison with a friend. Very frustrated by this situation, he decides to seduce a film school classmate with dark intentions.

An experimental film director reconstructs —through film, spiritualism, dance and shamanism— the death of her mother in a train accident, using representation as a way of reaching the intangible.

The radical Polish director Małga Kubiak is regularly represented with her films at the Pornfilmfestival Berlin. In 2016 we showed “Andy Warhol to se vrati: boyz” and in 2019 followed “Federico Garcia Lorca Noir Despair”. Last year she was in the festival program with “Xreens”. In her latest film “D’Vinci”, the filmmaker again reflects on a famous artist. As expected, it did not turn out to be a typical biopic, and Kubiak dives deep into the meaning that her films and her way of working have and had for herself and for others – as always in her incomparable no-budget style. In today’s conservative Poland, her way of making films is no easy feat.