With the Sparks programmes, we hope to spark a passion for the medium of short film. Featuring highlights from this year’s competition submissions, the selection offers an excellent introduction to the world of shorts, showcasing a diverse film culture beyond the usual mainstream and YouTube videos.
The eight curated programmes presented here are the result of a comprehensive audiovisual enquiry into the vast territory of the Andean nations: Argentina, Bolivia, Chile, Colombia, Ecuador, Peru, and Venezuela. Los Estados Andinos offers a panorama of the political, social, cultural, and artistic scene of these seven countries, exploring the idiosyncrasies and traditions of each as well as their collective identity and common grounds.
Commemorative practices, reflections on identity, family relationships, and borders in both the geographical and mental sense – these are four weighty and highly complex themes in a country like Israel. The shorts in the Country in Focus explore the past and present of this still young nation, illuminating the historic premises of its existence, the ubiquitous conflicts on multiple fronts, the militarization of everyday life, and family relationships within this context.
Kurdwin Ayub is one of Austrian cinema’s most interesting voices. Her distinct cinematic style has been recognizable from her earliest works through her most recent film, «Sonne», and it continues to evolve. In her works, she addresses gender roles, identity and migration, patriarchal structures, youth culture, and the fast pace of our time – always in an authentic and personal manner. Both playful and analytical, Ayub and her films resist pigeonholing.
The Industry Events offer a platform for networking among film professionals, for discussing theoretical concepts, and for information and education about creative methods and aesthetic trends.
The history of the Andean nations has been shaped by violence, censorship, and discrimination. Animated films are often employed for social and political critique in these countries. Stories of the Uncanny features aesthetically sombre and atmospherically mystical animations that simultaneously deal with social and political themes. A programme that leaves a strong visual impression, immersing viewers in unfamiliar worlds while also introducing us to everyday issues.
All My Scars Vanish in the Wind Angélica Restrepo/Carlos Velandia / Colombia 2022 / 14'18" / DCP / colour / Spanish/English / Ani/Doc
Among intrusive and sought-after memories, a woman hears a disconcerting call from the depths of her being. A cryptic cry for help that becomes intelligible guides her to the original wound, to her inner child, as she becomes her own protector.
An old woman wakes up in her room in the morning. The place comes to life, showing her spaces from the past full of pain and innocence. An experimental short film that goes through the emotional scenarios in the last moments of a woman's life.
«Yugo» tells the story of a working couple who must adapt to industrial capitalism in Latin America and who will suffer from its social and environmental consequences.
Drive Pedro Casavecchia / France/Argentina 2019 / 6'56" / DCP / colour / no dialogue / Ani
«Pulsión» is a mysterious piece that explores the twisted story of a kid growing up in a dysfunctional family. The psychological animated thriller follows the character’s spiralling descent into madness, piecing together the portrait of a killer.
The Bones Cristóbal León/Joaquin Cociña / Chile 2021 / 14'21" / DCP / black & white / no dialogue / Fic/Ani
«The Bones» is an animation seemingly created at the beginning of the 1900s. Using human corpses and invoking the spirits of two damned Secretaries of State, a girl performs a ritual to free the kingdom of Chile from its feudal heritage.
Luis talks about his life in the forest and his relationship with Lucía. He appears in charcoal on the walls of a room filled with broken objects that constantly shift around. Little by little, the room clears up as the objects return to their proper places.
Bestia Hugo Covarrubias / Chile 2021 / 15'54" / DCP / colour / no dialogue / Ani
Based on true events, «Bestia» explores the life of a secret police agent during the military dictatorship in Chile. Her relationship with her dog, her body, her fears and frustrations reveal the grim fractures of her mind and of the country.
The Andes mountain range stretches from Argentina, where it serves as a natural border with Chile, up north through Bolivia, Peru, Ecuador, and Colombia, where it splits into three branches, one of which extends into Venezuela. The eight curated programmes presented here are the result of a comprehensive audiovisual enquiry into this vast territory. Los Estados Andinos seeks to offer a panorama of the political, social, cultural, and artistic scene of these seven nations, exploring the idiosyncrasies and traditions of each as well as their collective identity and common grounds.
The Latin American film industry, and specifically the film scene in the Andes nations, expanded according to each country’s economic capacity and willingness to invest. It has also been directly connected to social and political turmoil, both within the region and under the influence of external events. While cinema arrived around 1896 and slowly started to disseminate, it was only in the 1940s and 50s that some local productions started to bloom after each nation implemented laws promoting the film industry. Some countries stood out in this respect, Argentina chief amongst them. After World War II, and with the impact of the Cuban Revolution, a new cinematic culture awakened and quickly became politicized. During this period, filmmakers found inspiration in eclectic sources, mainly from abroad, which triggered a phase of exploration.
The 1960s and early 70s were pivotal: the new Latin American cinema movement, forged in a postcolonial environment and ignited by popular movements seeking cultural, political, and economic autonomy, brought a break with established filmmaking practice. The movement intended to reveal Latin American realities with their multiple contrasts and insisted on searching for the overlooked, placing entirely new themes centre stage, such as the collective memory of the excluded. It was a highly critical anti-establishment and anti-mainstream movement aimed at creating a cinema that ignites sociopolitical transformation. Beginning with a fruitful production of films in Argentina and Chile, the movement spread widely through the region to Colombia, Ecuador, Venezuela, and beyond. At the same time, several national movements emerged, striving to develop an autochthonous cinema of auteur films.
The second half of the 1970s brought a decline in cinematic production in the region, along with the rise of dictatorships and a decrease in funds. Many filmmakers went into exile and continued to work from abroad. The 1980s were characterized by struggle, dependency on state support, and precarious channels of distribution. Since the 1990s, industries in the region have once again experienced significant growth and an undeniable creative wave, above all in Argentina, which is rightly seen as a powerhouse of film production, but also in Chile and Colombia. Bolivia, Peru, and Ecuador, in turn, are often overlooked, yet they are developing relevant bodies of work that shine a light on indigenous lives in contemporary times.
We are aware of the immense diversity that characterizes the region and of the individuality and particularity of each country. We don’t seek to homogenize or equalize their experiences by any means. Instead, with our selection, we want to feature the multiculturalism of these nations while at the same time portraying their shared experiences in recent and contemporary times. The programmes are not organized by nation; instead, they are thematically structured.
Three programmes explore the socio-political realities in the Andean nations. While two of them, Working the Land and Critical Contrasts, take a historical perspective, Andean Paradox focuses on the present and on a growing tendency to regain agency through action. The programme Tierra vital features a journey through landscapes that shape and condition cultural and identity practices and imaginaries. The sense of belonging is intertwined with the sense of place. Family Comes First, as the title suggests, addresses the importance of family relationships, the struggles and affection between family members. The queer experience and the exploration of bodily autonomy in the region is given a window in the programme Free Your Mind, Free Your Body. Finally, Stories of the Uncanny and Blurred Lines echo each other. The former uses animation as a medium to address difficult, strange, and seemingly dissimilar topics that attract and repel at the same time; the latter is inspired by magic realism, capturing the spirit of the supernatural encapsulated within the mundane. It is an evocative programme, an amalgamation of the real and the magical.
The Andes are a region of many facets. They come with a halo of mystery and mysticism. As a Colombian curator who lived in Europe for several years, I have a sense of the manifold associations of the term «Latin America». Many see us with the eyes of desire and yearning, others with great fear. There are those who observe us with interest and genuine curiosity, while others want to exploit our territories. We are also said to be incredibly open and warm, happy and loving people who welcome everyone with open arms and hearts. Our nations are usually associated with political and social instability, an assessment that is then contrasted with the beauty of our inhabitants and the majestic and varied landscapes of our countries. Despite the stereotypes and what we evoke in the world’s imagery, we surely are a pluricultural and multi-ethnic region that shares the same territory and colonial past and yet encompasses diverse countries with different political and socioeconomic realities and complexities.
Text: Mariana Bonilla Rojas Curated by Mariana Bonilla Rojas, John Canciani, Laura Walde, Federico Windhausen
Stories of the Uncanny
In recent years, Latin American animation has attracted quite a bit of attention. In the Andes, Argentina, Chile, and Colombia have been especially productive, and Chile, in particular, has stood out: in 2018, «Bear Story» won the Oscar for best animated short, and in 2020, «Bestia» was nominated for an Oscar. This is especially remarkable considering that this award section is typically dominated by Pixar films. While «Bear Story» largely follows the aesthetics of American mainstream productions, «Bestia» deviates substantially from these conventions. Both are political works, but «Bestia» directly addresses the Pinochet regime without hiding its message behind quaint characters. It is a decidedly political animation for adults that breaks with conventional mainstream aesthetics and evokes an oppressive, uncanny atmosphere.
While mainstream productions dominate public discourse, a strong alternative animation scene has emerged over the years. With small budgets but big ideas, many animators are creating exciting experimental works. Some of the trends that have established themselves in the animation scene are now becoming more broadly visible at festivals and in the art world. Chilean filmmakers Cristobal León and Joaquin Cociña, who show their works both in cinemas and as installations, are a good example of this trend. Their animations have been featured at various film festivals as well as at Art Basel.
Stories of the Uncanny showcases aesthetically sombre and atmospherically mystical animations that simultaneously deal with social and political themes. It’s a programme that leaves a strong visual impression and immerses viewers in unknown worlds while also addressing everyday issues.
The programme of the 28th Kurzfilmtage will be released on 16 October 2024.
Short Films
A short film is not just a shorter film. Shorts are a distinct art form, which we showcase at our annual festival.
Short films come in all shapes and genres, and how long – or short – they are, varies quite a bit. Simpler production processes allow filmmakers to capture the zeitgeist and quickly respond to trends. Shorts can be entertaining or surprising, they can analyse society, take a political stance, or offer glimpses of worlds unknown to us.
We compile our short films into thematic programmes or specific sections, such as our competitions, paying close attention to the selection and sequence of films in each programme. All you need to enjoy short films is an open mind for new discoveries and surprises.
The Festival
Internationale Kurzfilmtage Winterthur is Switzerland’s major short film festival. For six days every November, we transform the city into a dynamic short film hub.
Kurzfilmtage offers discoveries for everyone: our thoughtfully compiled thematic programmes address current events or topics that our curators are passionate about. The competition programmes showcase the latest filmmaking from around the globe, while installations, performances, and other specials highlight the diversity of audiovisual forms. And a programme of special events including concerts, readings, and more enhance the festival experience.
