media appropriation

An experimental documentary that explores Saudi Arabia's relationship with the U.S. and the role this has played in the war in Afghanistan.

In 1932, the writer Paul Nizan published "The New Watchdogs" to denounce the philosophers and writers of his time who, sheltering behind intellectual neutrality, imposed themselves as true watchdogs of the established order. Today the watchdogs are journalists, editors, and media experts who've openly become market evangelists and guardians of the social order. In a sardonic manner, "The New Watchdogs" denounces this press that, claiming to be independent, objective and pluralist, makes out it is a democratic force of opposition. With forcefulness and precision, the film puts its finger on the increasing danger of information produced by the major industrial groups of the Paris Stock Exchange and perverted into merchandise.

In this episode of HIUWTS, Hana’s birthday goes wrong! Mom throws the perfect party, but Dad spoils all the fun… Watch as the TV crew invades the family’s home and the show distorts their reality!

A film about the noted American linguist/political dissident and his warning about corporate media's role in modern propaganda.

Damon Packard parodies the making of Star Wars: Attack of the Clones

Winnipeg Film Group. Deep in the winter of 1986. Guy Maddin is in the process of filming Tales from the Gimli Hospital and needs to rub a dead seagull on somebody's chest. Immediately, Dave Barber agrees, submitting his bare flesh to Maddin's road kill and to film history. (This film was commissioned by the Winnipeg Film Group's Cinematheque for its 25th anniversary, Silverscope)

"The palm trees on the reverse are a delusion; so is the pink sand". This line, taken from a poem by Margaret Atwood, lights the path traced in "Postcard". As the years go by, landscapes transform, take on new meanings, and hold onto joys that will never be regained. The sea and the beach, once stages of happy summers, romances, and encounters, will turn into concentration camps or centers of detention and torture. This occurs across different times and places. In this piece, I embark on a journey through some of my works that explore the relationship between testimony, spaces, and time, engaging in dialogue with the beautiful film directed by Alejandro Segovia in 1972.

In early 2020, MUTA - International Festival of Audiovisual Appropriation and Cine Íntimo rescued and digitised a Peruvian archive of orphaned 8mm and Super 8 home movies. With the aim of restoring these lost memories, we sent the images around the world. This omnibus film is the result of the intervention of this material, by 14 experimental filmmakers. Fourteen perspectives and ways of experiencing appropriation. Fourteen variations on the intimate.

A conversation between reality and consciousness.

This film subverts info-mercials designed to promote well-being and turns them into an anxiety-inducing collage.

Empty box-like apartments and shipping containers evoke the border crossing vampire who travels in a coffin. Unboxing Nosferatu is part of the anthology ‘I Went to a Party Alone’ in which YouTube vlogs of random daily life are recast as scenes imbued with mythic allusions. When the hard cuts and juxtapositions reveal a landscape of oppressive social control, the vloggers’ mundane normal soon gives way to the surreal. Surveillance helicopters chase astral travellers; child hunters look through scope-cam rifles to aim for the heart; 'unboxing' and 'apartment tour' vlogs conjure containment and borders; a 'drive with me' transforms into sousveillance. Seemingly innocuous recordings about shopping, driving or dating are fraught with foreboding as the vloggers who yearn for freedom, love and self-expression find themselves unable to escape society’s haunting bondage.

Interrogations of patricide offenders, footage of vandalised statues, and photographs of Victorian children in faux gardens are interwoven into a metaphor for the perverse legacy of privilege and wealth inherited by those who inhabit The Garden.

Surveillance helicopters and the police chase astral travellers. Astral Pegasus is part of the anthology ‘I Went to a Party Alone’ in which YouTube vlogs of random daily life are recast as scenes imbued with mythic allusions. When the hard cuts and juxtapositions reveal a landscape of oppressive social control, the vloggers’ mundane normal soon gives way to the surreal. Surveillance helicopters chase astral travellers; child hunters look through scope-cam rifles to aim for the heart; 'unboxing' and 'apartment tour' vlogs conjure containment and borders; a 'drive with me' transforms into sousveillance. Seemingly innocuous recordings about shopping, driving or dating are fraught with foreboding as the vloggers who yearn for freedom, love and self-expression find themselves unable to escape society’s haunting bondage.