A programme of short works traversing hallucinatory dreamscapes, contested landscapes, and the precarious movements of bodies through time and space. Argentinian auteur Lucrecia Martel screens alongside contemporary artists, Basim Magdy, Marwa Arsanios and Fox Maxy.
Celebrated Argentinian filmmaker Lucrecia Martel explores themes of class, labour and gender violence through the story of a woman who applies for a job as a maid, haunted by an unspecified family trauma. Inspired by forms of contemporary dance, the film probes a kind of audio-visual choreography, focusing on the continuous movement of the body in space and the disruptions that occur offscreen and in the interplay between linear and nonlinear time.
Lucrecia Martel’s rich and concise body of work has gained worldwide recognition and acclaim since her debut feature, La Ciénaga, in 2001. Born in Salta, in Northwest Argentina, Martel studied film in Buenos Aires and began her career making intimate, elliptical dramas that broke from the aesthetic and ideological tendencies of the prevailing “New Argentine Cinema”. A singular artist, Martel combines a formal mastery—particularly through her attention to sound design—with a sensibility entirely her own, defined by atmosphere, mystery, and caustic humour alongside provocative critiques of class, gender and patriarchy in Argentine society.
Zama (2017), La Mujer Sin Cabeza (2008), La Niña Santa (2004), La Ciénaga (2001)
Egyptian artist Basim Magdy crafts an immersive, hallucinatory audio-visual dreamscape reminiscing on the absurdity of death without trying to understand it. His associative universe of sounds and signifiers imagines a present moment suspended between traces of the mythic past and spectres of uncertain futures. Harnessing the live, organic qualities of super 16mm, the film builds a singular, dissonant energy that stalks the outer boundaries of science fiction, horror, and nature documentary.
Basim Magdy is an artist and filmmaker whose work employs elements of surrealism and humour to produce layered and colourful observations of reality that investigate collective delusions and dogmatic ideologies. His imaginative works attempt to reveal alternative realities and speculative social blueprints for a more hopeful future. His films have screened at festivals including Locarno, New York Film Festival, International Film Festival Rotterdam, and CPH:DOX. His solo exhibitions include Museum of Contemporary Art, Antwerp; MAAT, Lisbon; MCA, Chicago; and MAXXI, Rome. Groups shows include MoMA, New York; Centre Pompidou, Paris; ands Castello di Rivoli, Torino.
FEARDEATHLOVEDEATH (2022), M.A.G.N.E.T (2019), New Acid (2019), No Shooting Stars, (2016), The Everyday Ritual of Solitude Hatching Monkeys (2014), The Many Colors of the Sky Radiate Forgetfulness (2014), The Dent (2014), Crystal Ball (2013), Time Laughs Back at You Like a Sunken Ship (2012), On The Good Earth (2011), 13 Essential Rules for Understanding the World (2011), My Father Looks For An Honest City (2010), A Film About The Way Things Are (2010), Turtles All The Way Down (2009), Maybe There is a Message, (2008), Two Days to Apocalypse (2003)
Who Is Afraid of Ideology? Part 4: Reverse Shot
This fourth chapter of Arsanios’ Who is Afraid of Ideology? series continues a collaborative investigation of anti-capitalist ideas around property and land ownership in Lebanon. The film’s figurative reverse shot reflects land as an autonomous, living object that inherently resists notions of property. Instead, matter and land become witness to the interconnectedness of the geological, the historical, the legal and the agricultural – generating an ecology of thought centred around land as a site of communalisation and rehabilitation.
Marwa Arsanios is an artist, filmmaker, and researcher who reconsiders mid-twentieth-century politics from a contemporary perspective. Her collaborative, interdisciplinary research practice often focuses on gender relations, collectivism, urbanism and industrialization. In recent years, Arsanios has been attempting to think with a feminist, new materialist and a historical materialist lens – looking at questions of property, law, economy and ecology from specific plots of land; to the extent that the main protagonists of the work become the lands themselves and the people who work them.
Her films have screeded widely, including at Cinéma du Réel, Rotterdam Film Festival, Film Fest Hamburg, and Berlin International Film Festival. Solo exhibitions have included: Skuc Gallery Ljubljana, Beirut Art Center, Hammer Museum Los Angeles, and Witte de With Rotterdam. Group exhibitions have included: Documenta 15, 11th Berlin Biennale, Gwangju Biennial, Lülea Biennial, and SF Moma, San Francisco.
I’ve Heard Stories (2008), I’ve Heard 3 Stories (2009), Have You Ever Killed a Bear or Becoming Jamila (2014), Learning to Dance (2015), Falling is not collapsing falling is extending (2016), Amateurs Stars and Extras or the labor of love (2018), Who is Afraid of Ideology? Part1&2 (2017/2019), Who is Afraid of Ideology? Part3 (2020), Who is Afraid of Ideology? part 4 Reverse shot (2022)
F1ghting Looks Different 2 Me Now
Fox Maxy’s vertiginous montage documents the artist’s homecoming to Mesa Grande, California, ancestral lands of the Mesa Grande Band of Iipay/Kumeyaay/Diegueño Mission Indians in what is now called San Diego County. An exuberant mixtape of songs; portraits of friends, family, animals, and landscapes; and documents of confrontations with tribal cops, F1ghting Looks Different 2 Me Now is an exhilarating, joyful, and relentless disruption. No more drama.
Fox Maxy is a California-based artist and filmmaker of Kumeyaay and Payómkawichum ancestry. Their work deals with Native American identity and culture, from a decolonial perspective. Their work has screened widely, including at MoMA, LACMA, Rotterdam, and BlackStar Film Festival. In 2020, COUSIN Collective supported Fox with their first grant, and in 2022 they were named as Sundance Institute’s Merata Mita Fellow. They are also a Vera List Center Borderlands Fellow.
Maat (2020), San Diego (2020), Petroleum Jelly (2020), One Big Selfie (2020), Lil Nas X (2019), California Girls (2018), Muzzles Off (2018), Cheyenne Ziegler (2018)