MANIFESTO

Each film is a laboratory.

Cinema is dying since cinema was invented. Cinema was supposed to be gone long time ago, but kept fighting against because it is part of a much broader history of recording. Is the history of humanity making a portrait of itself and transmitting it to others. There are many ideologies and assumptions in cinema that we must fight against. The first one is that the industry is the higher level of technical perfection. The industry as a landmark, a beacon of perfection, is a myth. The second one is the superficial way of seeing films. Usually, audiences only see the surface, the plot, and the story. However, every film has its postulates. That which we are thinking about even before making the film, that which we do not explicitly expose. These thoughts are active and continue working in the film. This is the place of ideology.

We consider our practice as avant-garde, because the avant-garde supposes an army behind and an enemy to defeat. We are avant-garde filmmakers, because like most of the guerrilla, we have no resources and the goal is to recuperate the arms from the enemy. Avant-garde is a highly-charged term with different meanings throughout history. However, we must not reduce it to a single period in history. We must broaden our ways of thinking about the avant-garde and the modes in which it is organized. We never had so many tools to defend ourselves as we do today, not in terms of arms, but in terms of representation. We must recuperate our tools of representation. Everyone should be avant-garde. Everyone should know how to defend oneself.

APPROACH

We are a folk-based production house, a counterforce against mainstream trends in contemporary cinema. Experimental filmmaking, gallery films, and expanded cinema, are not only entering into new exhibition spaces but also into new economies. The encounter between theatrical and gallery exhibition have ironically generated an economy of consumption, distraction, and disposability. At a time when theatrical exhibition and gallery spaces are being negotiated, we emphasize the political relevance of the conditions of production, distribution and display.

In order to expand the potential for moving images in exhibition spaces and economies, we center our practice in two lines of operation.

Practices in Transition | Critically engaging with practices such as experimental filmmaking, video art, installation, and artists’ films. Encouraging the practice of artists that occupy unique positions between video art and cinema.

Exhibiting Cinema | Aiding in the production, distribution and exhibition of experimental cinema, meanwhile emphasizing the political relevance of the conditions of distribution and display.