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Couched as a fictional story, Coming to Terms is a meditation on a death, and its psychological impact on a fractured and divided family. Its formal structure is far from normal narrative story-telling in the cinema.

Jon Jost is a 50 year veteran of filmmaking with some 36 features to his name. He also paints, writes, does photography and writes and sings country-western music.

Three professional women go to the seaside, two of them (Miglio and Gianfelici) to comfort the other (Nano), who has been left by her husband. In the process of attempting to console Anna, the other two are dragged into the maelstrom of her sadness. This work is more of a tone poem narrative, in which the real subject, the impact of 9/11 on the European and Italian Intelligentsia, is never mentioned but lays in the background, invisibly distorting the characters. "La Lunga Ombra" was made in five days in an improvised manner with no script whatsoever, only a vague thought to address the disquiet which pervades Europe in the wake of 9/11; a disturbance which works unacknowledged and of which little is ever said.

Jon Jost is an experienced film and video-maker, with some 15 feature length works on celluloid, 16 and 35mm, and 12 long works in digital video, as well as many short works; and most recently multi-screen installation works. He is presently living in Lincoln Nebraska, USA, on an artist's residency program.

Set in Newport, Oregon, a small coastal town whose fishing fleet has vanished, and survives on second-homes and tourism, HOMECOMING is rooted directly in the present realities of America. We are introduced to a normal family: Jeff (Keith Scales) and his wife Mattie (Kate Sannella), and son Chris (Ryan Harper Gray). Jeff runs a small real estate office and his wife shares the work. Chris is an unemployed 26 year old slacker, living with a younger girlfriend, (Kat Eastman). Obliquely we learn of another son, in the service, ?over there.? Mattie discreetly does a bit of drinking, Jeff hustles his business. Mattie fails to get some papers to the bank and Jeff?s company loses out on a $50,000 deal. Chris is dumped by his girlfriend and is in counseling with a social-service therapist (Steve Taylor). We find out that Chris is Jeff?s step-son, and his own son Steve is the one in Iraq. Steve?s homecoming is in a transfer tube. After the funeral the family gathers by the ocean and the fissures within rip apart. Jeff and Chris have a confrontation that leaves Chris with a bloody nose on the ground. Mattie drinks and ends on the floor herself as Jeff loses it. Chris visits his therapist at home and ends up getting a blow-job. He stops by and sees his old girlfriend in an attempt to make up. She turns him down. Chris jumps of a bluff known locally as ?Jump Off Joe?s? HOMECOMING is not a ?plot? film, but more a tone-poem; its meanings arise from its broader ambience, its moods, its sense of time and place. It is meant as a metaphor for the larger family of America, which, at this time, is harshly divided, and unable to speak to itself meaningfully across that division. This film broaches this subject poetically, gently, through a depiction of characters who are unable to articulate to each other or to themselves the disquiet which curdles within them.

In 1962, Oscar Niemeyer was invited to conceive an international fairground in the city of Tripoli, Lebanon, which was never completed. To Remain in the No Longer looks at how architecture operates in this failed state. By examining the precarity of the project site that remains to this day, the film reflects on the country’s current socio-economic crisis. Employing archival materials, interviews, and 16mm and digital film, the experimental documentary explores the political and cultural forces that have come to bear on the site—from its halted construction to its imposed abandonment and attempted reappropriations. How has architecture been instrumentalized in the ongoing construction of a national narrative? What is the role of architects in shaping society within corrupt ecologies of power and failed financial engineering? Film becomes a plastic medium to reframe the positivism of urban masterplans and architectural monuments and formulate a social critique. Modern structures under threat of collapse stand in as protagonists to tell the story of a promised metropolis that never came to be, while the fairground acts as a lens to look at implicit collapse beyond the perimeter of the site.

Based between Beirut and Amsterdam, artist and filmmaker Joyce Joumaa earned a BFA in Film Studies from Concordia University in Canada. In 2021-2022, Joumaa had her first institutional solo show at the CCA The Canadian Centre for Architecture. Her work has shown at the Montreal Museum of Fine Arts, Fofa Gallery, the Sharjah Architecture Triennial and in the 2024 60th Venice Biennale.

It was not in the idea of fiction or documentary that the artist wondered about cinema. She could talk about composition or the musical structure of images; this is how this film, bit by bit, took shape in her mind. Indeed, the music allows for an approach to reality with notions of wholes, voids, rhythms, and times, etc. The artist has always had a link with the image that is built in this sort of abstraction, always building the real.

Valérie Jouve was born in 1964 in Saint Etienne, France, and she currently lives in Paris. She has produced documentaries that have been shown in diverse festivals, and has produced numerous individual and collective exhibitions in Europe, China, and the United States.

Through multiple screens, men and women recount their most vivid dreams. The series of portraits becomes an exploration of the collective unconscious in a time of crisis.

Dragana Jovanovi? obtained a postgraduate degree at the Academy of Media Arts Cologne in Germany. Her studies focused on Film Directing and Writing. She also holds a bachelor's degree in Production from the Faculty of Dramatic Arts at the University of Arts Belgrade in Serbia. Her graduation short fictional film ON THE OTHER SIDE OF THE PILLOW A ROSE WAS BLOSSOMING (2018) was nominated by the German Film Academy for the First Steps Award and it was screened in numerous international film festivals such as Festival Premiers Plans d’Angers, ISFF Oberhausen, DRAMA ISFF, among others. Jovanovic’s films explore the collective unconscious by interpreting archetypes of folk and fairy tales and ancient mythology, and placing these narratives in contemporary contexts. Her focus centers on capturing her characters' inner worlds, revealing the interplay between their subconscious realms and their present-day realities. Her latest work, AURORA'S DREAM (2023), earned the Best Cinematography award for her own contribution. It premiered internationally at FID Marseille and continues to make its mark on the festival circuit.

http://nocinema.org WEB INTERLUDES: Presented in its first version at the Walker Art Center in Minneapolis at the end of the nineties, nocinema.org is an ever-evolving streaming application developed by Jérôme Joy: French artist and composer. This project is a net-based documentary/fiction of web interludes that appear differently each time. Nocinema.org can be interpreted as an improbable cinema or a movie in which both actors and action appear to have wandered out of shot, having no beginning and no end, no participants and no storyboard, except perhaps subjective interpretations born of an impulse to impose purpose and meaning upon random stimuli. Nocinema.org is an automatic process, drawing upon strings of live streaming webcams across the world, transmitting live scenes collected from different locations with added panoramic movements and temporized on-line editing, into which some black shots are inserted (listening without visual). The sound, each time offering a different sequenced overlay, comes from a shared soundfiles database which is fed and updated by a team of sound artists/partners, including Magali Babin, DinahBird, Christophe Charles, Yannick Dauby, Chantal Dumas, Jérôme Joy, Luc Kerléo, Alain Michon and Jocelyn Robert.

Jérôme Joy is french composer and improviser. Experimentations and research in live systems, concerts and performances: instrumental, electronics, programmings and on-line systems. Involved in various collective and networked projects since 1995, he`s continuously working on `extended music`: live music, live radiophony, live cinema, performances. Jérôme Joy (composer) born and lives in France Composer and artist, Jérôme Joy is teaching since 1992 at Villa Arson École Nationale Supérieure d`Art de Nice (National School of Arts) and since 2004 he`s research director with Peter Sinclair of the research group Locus Sonus - Audio in Art. Having delivered multiple performances of both instrumental and electro-acoustic music since the early 1980s, he has devised numerous international, networked projects since 1995. His interests encompass the vast realm of sound composition and improvisation, alighting upon and inspired by electronic and radiophonic production, programming and streaming technologies, performed and networked systems, shared databases and the interplay and local gaps of narration between the organic (human, fallible, playable, awareness) and artificial (modular, detached, limitless) : Collective JukeBox, picNIC, nocinema.org, PacJap, pizMO, Lib_, Sobralasolas !, etc. In recent years he has been invited in many international festivals and events (in SFMOMA San Francisco, Brussels2000, Open Radio CCCB Barcelona, Kunst in der Stadt Bregenz Austria, Avatar Quebec, ISEA Nagoya, etc.) and various granted residency status in Spain, France, Egypt and Japan. He`s continuously working on various projects : Sobralasolas !, nocinema, picNIC, Collective JukeBox, radio works and next live improvised concerts with guests (DinahBird, ...)

The scripts are based on resources like instructional videos and management training tools, sales pitches and tutorials on stress management. Collaging and adapting elements from these and other sources, the work gives birth to a ‘subject’ who speaks with a double tongue, veering between the human and the digitally generated, and delivering a message that is simultaneously authoritative and incoherent, reassuring and vacuous.

Maren Dagny Juell is an artist working with moving image, installation and VR/AR. Maren was born in Oslo, Norway where she currently has a studio. She received her MA from Chelsea College of Art (London) in 2004. The last solo shows have been at Trondheim Center for Electronic Arts (2023), Tenthaus (2021), Atelier Nord Oslo (2019), Trafo Kunsthall (2018), Podium Oslo (2017) and Trøndelag Senter for Samtidskunst (2018). Work has been included in group shows at Bergen Center for Electronic Arts (2021), Astrup Fearnley Museum of Modern Art (2008) and Stavanger Kunstmuseum (2015) amongst others. Moving image works have been screened internationally like The Australian video Biennial in Melbourne( 2017 and 2019). She has participated in and made new works for various biennials including; Riga Photography Biennial (2020), Meta.Morf Trondheim international biennale for art and Technology (2022) and Art Encounters Biennial, Timisoara Romania (2023). In 2024 she won the Nordic Award category at Lumen Prize for “Human Resource the Musical”.

A surreal post-apocalyptic home party placed in an undefined future where the location is fluid. This work focus on 3D printed replicas of various household plastic objects, common in 2012, which take on a new role in an imagined post plastic future. The party-host guides the party participants through a fragmented story about and relationship with objects. Re-enacting a home party, in a world where this is not possible or relevant. Questioning ideas around Object Orientated Ontology and current collection and valuation of artifacts.

Maren Dagny Juell is an artist working with moving image, installation and VR/AR. Maren is born in Oslo, Norway where she currently has a studio. She received her Fine Art MA from Chelsea College of Art (UK) in 2004. Exhibitions include solo shows at Tenthaus (NO), Atelier Nord Oslo (NO), Trafo Kunsthall (NO), Trøndelag Senter For Samtidskunst (NO), Akershus Kunstnersenter (NO), Podium Oslo (NO) and group shows at Bergen Center for Electronic Arts (NO), Astrup Fearnley Museum of Modern Art (NO) and Stavanger Kunstmuseum (NO) amongst others. She has participated in and made new works for various biennials including; Riga Photography Biennial (LT) 2020, The Australian video Biennial in Melbourne (2017 and 2019), Meta.Morf Trondheim international biennale for art and Technology (NO) 2022 and Art Encounters Biennial, Timisoara Romania 2023.

HOTEL is a 10-part interactive animation in the anonymous space of an extraordinary and strange hotel, as of today online at www.submarinechannel.com/hotel. For Submarine Channel, multimedia artist Han Hoogerbrugge has created an interactive serial that takes place in a virtual hotel. The visitor looks around in the rooms, meets people and encounters objects. The hotel is large. The hotel is a head. The hotel follows the logic of a dream. The hotel is also the home base of Preconstruction (www.preconstruction.biz), the business of Dr. Doglin that conducts research into ?freak accidents?. In exchange for payment, volunteers agree to undergo tests that Dr. Doglin performs on them. It appears that the tests present no danger to the volunteers? With each episode comes a comic (which can be opened and viewed by clicking on the menubar) that explores the parallel universe of one Dr. Goldin, apparently no relation to our own good doctor. Hotel can be dark and worrying, but it can also be lighthearted or even laughable. It?s a game in which seemingly nothing can be lost, but also nothing can be won. In short: an environment where visitors from the all over the world can recognize a little bit of themselves.

Han Hoogerbrugge (1963) is an internationally renowned artist. Since 1996, he has presented his animation work on his website, www.hoogerbrugge.com. This website draws about 3000 visitors per day. At the beginning, attracted by the unprecedented possibilities of the web, Hoogerbrugge introduced a website called Modern Living. It was an experimental page where the possibilities of electronic publishing were investigated. In September 2001, number 100 in the Modern Living series appeared; this was also the last one. In collaboration with Gil Kay from Wiggle, Hoogerbrugge also made `Flow` for the NPS Short Film website. His work comes about in an intuitive manner; thoughts and ideas are converted into interactive animations. Han Hoogerbrugge is striving towards evoking an atmosphere, making something recognizable that cannot be expressed in words. Submarinechannel.com Submarinechannel.com specializes in new media programs such as short digital films, web games, animations and graphic novels. Submarine Channel produces and shows the work of a young generation of program makers. Originating in the world of computer games, comics, graphic design and video clips, what these artists have in common is that they are all in search of new narrative forms for their stories. Submarinechannel.com is part of the Amsterdam production company Submarine, established by Bruno Felix and Femke Wolting

The war film "Inchon" was met with disastrous reviews upon its U.S. premiere in 1981, leading to the cancellation of its planned Korean premiere under the revised title "Oh! Inchon." The film's legacy is one of failure, plagued by propaganda, a desire for heroism, and financial, artistic, and ethical compromises that affected the production from start to finish. "Inchon" became a monumental box-office flop, receiving heavy criticism in both South Korea and the U.S., and is often remembered today as one of the worst movies ever made. In the years between 2009 and 2011, Julià embarked on a quest to gather fragments and first-hand accounts from Korea, the United States, and Italy—collecting the voices of those who witnessed, participated in, or were affected by the making of this ill-fated endeavor. This film revisits the elusive "Oh! Inchon," resurrecting along the way some remnants of Julià's 2011 “Notes on the Missing Oh.”

Film and video installations, photography, performance, and printed matter have been at the core of Adrià Julià’s practice. Julià studies the evasive language of images as a means of representation and reception of personal and collective historical events. His critique of opticality and visuality points to the reliance on images in the act of negotiating memory, resistance, displacement, and survival. Julià is currently investigating early photography and film technologies as they relate to processes of erosion and subjugation in the Americas. His solo exhibitions include “Not Even the Dead Will Survive” at Pinacoteca São Paulo, "Think of It as Money!" at Contemporary Art Center of University of California Irvine, "Conquest of the Useless" at La Virreina Centre de la Imatge in Barcelona, “Hot Iron” at the Miró Foundation of Barcelona, “Hot Iron Marginalia” at the Tabakalera in San Sebastian, “Indications for Another Place” at the Museo Tamayo in Mexico City, “La Villa Basque, Vernon, California” at the Orange County Museum of Art in Newport Beach and at Artists Space in New York City, “A Means of Passing the Time” at LAXART in Los Angeles, “No Place Like Home” at Seoul’s Insa Art Space, “Truc Trang Walls” at The Room Gallery University of California in Irvine, “Love. Destiny. Heroes.” at Dan Gunn in Berlin, “Cat on the Shoulder” at 18th Street Art Center in Santa Monica, “Notes on the Missing Oh” at Project Art Centre in Dublin, and “Ruinas del Habla” at Galería Soledad Lorenzo in Madrid. Julià has also participated in group shows at the Metropolitan Museum of Art in New York City, at the Museo Reina Sofía in Madrid at Witte de With in Rotterdam, at De Appel in Amsterdam, at Seoul’s Museum of Art, at the Generali Foundation in Vienna, and at the Akademie der Künste in Berlin. He participated in the 9th Lyon Biennial, the 29th São Paulo Biennial with the performance “Ruinas da Fala” at the Teatro Arena, the 7th Mercosul Biennial in Porto Alegre, the Jakarta Biennale XIII, and the Kochi-Muziris Biennale in 2014. In 2015, Adrià Julià was named a Guna S. Mundheim Visual Arts Fellow by the American Academy in Berlin. Through the years, he has received substantial grants from Art Matters, the American Center Foundation, the Botín Foundation, the California Community Foundation, and the La Caixa Fellowship program. In 2002, he was awarded the Altadis Prize. His work has been featured in Artforum, Frieze, Flash Art, X-Tra, the Los Angeles Times, The New York Times, Osmos, and Camera Austria, to mention few.

Inspirée par le poème féministe italien d’Amelia Rosselli, La Libellula (Panegirico della libertà) (1958), Cercate Ortensia est un film d’archives scientifiques, personnelles et de réseaux sociaux. Entre hommage et vengeance face à son héritage littéraire, le poème de Rosselli se nourrit de l’ambivalence de la figure d’Hortense du poème « H » d’Arthur Rimbaud, entre élan d'ouverture et retrait intime. Cercate Ortensia recrée un mouvement circulaire marquant une bouffée d’air libératrice face au passé et la vieillesse. Le film explore la chute, la disparition, l’oubli, l’évanescence, traçant un lien entre les recherches de pionniers scientifiques, la désorientation liée à la perte de mémoire d'un père vieillissant et malade, jusqu’à l’actualité brûlante de la catastrophe écologique. 

Pauline Julier est artiste et réalisatrice. Elle explore les liens que l'homme crée avec son environnement à travers des histoires, des rituels, des connaissances et des images. Ses films et installations sont composés d'éléments d'origines diverses (documentaire, théorique, fictionnel) pour restituer la complexité de notre rapport au monde. Ses installations et films ont été projetés dans des centres d'art contemporain, des institutions et des festivals du monde entier, notamment au Centre Pompidou (Paris), au Loop (Barcelone), à Visions du Réel (Nyon), au Tokyo Wonder Site (Tokyo), au Musée d'art moderne de Tanzanie, au Geneva Art Center, au Palazzo Grassi (Venise), à New York, Madrid, Berlin, Zagreb, à la Cinémathèque de Toronto et au Pera Museum d'Istanbul. Julier a présenté une exposition personnelle au Centre Culturel Suisse à Paris (CCS) en 2017 et vient de recevoir le Prix fédéral d'art suisse en 2021. Son film « Naturales Historiae » vient d'être diffusé en ligne sur Vdrome.org et son prochain film, « Way Beyond », sélectionné en compétition à Visions du Réel 2021 sera dans les salles suisse à l’automne. Elle présente ce printemps une grande installation à l’institut d’Art Contemporain de Villeurbanne.

A la tombée de la nuit, un oracle volant s’avance et déroule un message.

Pauline Julier est artiste et cinéaste. Ses films ont été présentés dans des festivals, des centres d’art et des institutions du monde entier, parmi lesquels le Centre Pompidou à Paris, le Festival Loop à Barcelone, Visions du Réel à Nyon, DOCLisboa, le Tokyo Wonder Site à Tokyo, le Museum of Modern Art en Tanzanie, le Centre d’Art de Genève, à New York, Madrid, Berlin, Zagreb, Bucharest, à la Cinémathèque à Toronto ou encore au Pera Museum Musée à Istanbul. Elle a reçu le Swiss Federal Art Price à Art Basel en 2010 et elle a présenté une exposition solo au Centre Culturel Suisse de Paris en 2017. Cette année, elle participe à l’exposition de Bruno Latour, « Critical Zone » au ZKM et finit une résidence d’une année à l’Institut Suisse de Rome pour un nouveau cycle de recherches et films. Nicolas Chapoulier, co-réalisateur sur ce film, est directeur artistique de la compagnie « Les 3 points de suspension » avec laquelle il tourne mondialement. Auteur, comédien, acrobate, plasticien et metteur en scène, il assure la mise en scène et la direction artistique des spectacles Nié qui tamola, La grande Saga de la Françafrique (nominé aux Molières 2017) Looking for Paradise, et Squash . En 2011, il rédige Nié qui tamola au Editions Requins Marteaux, un roman graphique documentaire. En 2014, il est lauréat de la Fondation Beaumarchais/SACD Ministère de la Culture- Bourse à l’écriture, Ecrire pour la Rue pour le projet Looking for Paradise. En 2015, il fonde le collectif 3615 Dakota, qui réalise des performances urbaines avec lequel ils sont invités au pavillon français de la biennale de Venise d’architecture en 2019.

The viewer sees through the eyes of Noah, taken to the end of the world to a place where all seeds are kept safe. He can stand no longer the ordered space in which he is enclosed to live and decides to leave. Outside the world has disappeared under the ice. Poetic metaphor for a state lucid madness, the film suggest the possibility of a world uninhabited and sterile, a white nightmare?

A la tombée de la nuit, un oracle volant s’avance et déroule un message.

Pauline Julier est artiste et cinéaste. Ses films ont été présentés dans des festivals, des centres d’art et des institutions du monde entier, parmi lesquels le Centre Pompidou à Paris, le Festival Loop à Barcelone, Visions du Réel à Nyon, DOCLisboa, le Tokyo Wonder Site à Tokyo, le Museum of Modern Art en Tanzanie, le Centre d’Art de Genève, à New York, Madrid, Berlin, Zagreb, Bucharest, à la Cinémathèque à Toronto ou encore au Pera Museum Musée à Istanbul. Elle a reçu le Swiss Federal Art Price à Art Basel en 2010 et elle a présenté une exposition solo au Centre Culturel Suisse de Paris en 2017. Cette année, elle participe à l’exposition de Bruno Latour, « Critical Zone » au ZKM et finit une résidence d’une année à l’Institut Suisse de Rome pour un nouveau cycle de recherches et films. Nicolas Chapoulier, co-réalisateur sur ce film, est directeur artistique de la compagnie « Les 3 points de suspension » avec laquelle il tourne mondialement. Auteur, comédien, acrobate, plasticien et metteur en scène, il assure la mise en scène et la direction artistique des spectacles Nié qui tamola, La grande Saga de la Françafrique (nominé aux Molières 2017) Looking for Paradise, et Squash . En 2011, il rédige Nié qui tamola au Editions Requins Marteaux, un roman graphique documentaire. En 2014, il est lauréat de la Fondation Beaumarchais/SACD Ministère de la Culture- Bourse à l’écriture, Ecrire pour la Rue pour le projet Looking for Paradise. En 2015, il fonde le collectif 3615 Dakota, qui réalise des performances urbaines avec lequel ils sont invités au pavillon français de la biennale de Venise d’architecture en 2019.

The viewer sees through the eyes of Noah, taken to the end of the world to a place where all seeds are kept safe. He can stand no longer the ordered space in which he is enclosed to live and decides to leave. Outside the world has disappeared under the ice. Poetic metaphor for a state lucid madness, the film suggest the possibility of a world uninhabited and sterile, a white nightmare?

António, Zé Maria and João live in the House as they build it. For two years they restarted processes over and over according to their functions in the House. The transformations of the rooms forces constant changes in its organisation. The rooms for eating, dressing or relaxing change. As do the inhabitants. Time passes. The inhabitants move into and out of shot. The camera doesn?t follow them. It stays there focusing on the particular. Natural light invades the geometric spaces, intensifying as the work advances. The sound environment also changes. The silences intensify. The contrasts are stronger and stronger. At the end we see the men who make the film for some, the work for others, or simply a house.

Júlio Alves was born in Lisbon, 1971. He started really early to work in cinema and participated in 14 feature films as AD (assistant director), Sostiene Pereira, with Marcello Mastroianni is among them. In 1995 Alves directed his first short film, A Fachada (1995), followed by O Despertador (1996), Alferes (2000), Ossudo (2007) and O Jogo (2010). Meanwhile, he has done a documentary, 42,195 KM (2010) and he is currently filming A Casa (2011) another documentary, about the building process of a house of contemporary architecture that will be finished with the conclusion of the house, scheduled for September 2011.

Form, function, awe and all.

Sophie Jung was born in 1982 in Luxemburg and grew up in Germany and Switzerland. She studied Photography and Media Arts at the Folkwang school in Essen, the Zürcher Hochschule der Künste and graduated in 2011 from the Rietveld Academy in Amsterdam and is currently doing her MA in Fine Arts at Goldsmiths, University of London. She lives and works in Basel and London.

This is the story of an Uitoto Indigenous person who organized resistance against rubber exploitation in the early 20th century under the Casa Arana. Yarokamena invokes the spiritual and cosmic forces of war, unleashing from its container its destructive power that ultimately creates a spiral of betrayal and death. This remarkable tale was prohibited by traditional authorities due to its potential to incite youth to rebellion and serve as a stimulus for resorting to witchcraft. This story is narrated by Gerardo Sueche, advisor to the Uitoto people, traversing filmic portraits of a delirious Amazon, overrun by technological ruins, dysfunctional antennas, ghost ships, and colonial specters lodged in the oral memory of survivors of this episode of exploitation and extractivism. The film employs cinema as a new vessel for this destructive force.

Andrés Jurado, is a Colombian artist, filmmaker, researcher, and producer whose creative exploration spans experimental and expanded cinema, archives, counter-archives, contemporary art, propaganda, mosquitoes, extraterrestrials, and the space race. He investigates their intricate impacts on shaping modern narratives and politics. He co-founded La Vulcanizadora, a studio that facilitates the convergence of Experimental Cinema, Visual Arts, Expanded Theater, and other practices. His film "El Renacer del Carare" earned a Special Mention at the 31st FIDMarseille (2020) and the Audience Award at Panorama de Cinema Colombiano (Paris, 2021). His recent short film, "Yarokamena," premiered at the 72nd Berlinale Forum Expanded and received an Honorable Mention at DocLisboa, Portugal. Between 2017 and 2021, he curated the Expanded Documentary section at MIDBO in Colombia. Part of the Forensic Architecture Team, he contributed to the "Traces of Disappearance" research and exhibition, focusing on land issues in Colombia. Currently, he's engrossed in his debut feature documentary, "Welcome: Interplanetary and Sidereal Space Conquerors." This captivating essay film offers a Latin American perspective on cinema, colonization, and the space race, following the specters of a jaibaná, an Emberá indigenous shaman involved in preparing astronauts for their monumental lunar journey.