Phil Hoffman tells us the story of his project, the Film Farm in Ontario, Canada, that turns 30 years old this year. THE INSPIRATION By the late 80’s I had finished a series of autobiographical films, and luckily had the opportunity to travel. On these trips I did...
FRAGMENT OF SPEAKING IN TONGUES. A LETTER TO THIRD WORLD WOMEN WRITERS [1] Ivonne Sheen Mogollón, Sinais Latinoamérica curator, shares with us one of the texts by Gloria Anzaldúa that guided and inspired her selection. 1980 May, 26th Dear mujeres de color, I feel...
The idea of pattern (in terms of graphics, visuals and sounds) seems to be very present in your work, could you tell us a bit about this? It was never intentional for me to use graphic or geometrical motifs. Each piece started out independently with a curiosity. For...
We reproduce a fragment of Scott MacDonald’s interview with Morgan Fisher talking about his work in commercial cinema and how it took him to his film Standard Gauge. Scott MacDonald: I was surprised to learn that you had worked on commercial features with Roger Gorman...
We interviewed Tomás Rautenstrauch, director of the Narcisa Hirsch Film Archive or Filmoteca, about the recent work to preserve and discover films by this free, vital filmmaker. Right now you are very involved in the work of the Narcisa Hirsch Film Archive or...
Paraíso (Paradise) is flourishing for another year: an event for Fine Arts students that welcomes them from the University of Vigo in Pontevedra and the University of Salamanca to gather with their films created for the occasion. Let us read here the opinions of three...
An Interview with Margaret Honda on Spectrum Reverse Spectrum and Color Correction by Jordan Cronk, originally published in Reverse Shot, a publication of Museum of the Moving Image in New York. With a background primarily in sculpture, Los Angeles–based...
We reproduce an excerpt from an interview with Rhayne Vermette by Peruvian critic, researcher and programmer José Sarmiento Hinojosa. Canadian artist and filmmaker Rhayne Vermette moved out of academia to pursue her own artistic vision. Years later, we’re witnessing...
By Byron Davies Has Mexican experimental film come full-circle, found its “secret formula”? In a foundational 1998 exhibition catalog essay for their traveling program Cine Mexperimental, Rita González and Jesse Lerner describe Rubén Gámez’s 1965 baroque anti-gringo...