Saturday

CORTA (2012)



CORTA
A film by Felipe Guerrero
Colombia, Argentina, France. 2012. 69' min.
Super 16mm x DCP Color. Dolby 5.1

Production: MUTOKINO
Co production: GEMA FILMS, ATOPIC
Director: FELIPE GUERRERO
Producers: FELIPE GUERRERO, GEMA JUÁREZ ALLEN, ANTOINE SEGOVIA
Executive producers: FELIPE GUERRERO, GEMA JUÁREZ ALLEN
Sugar cane cutters: DARIO AGUILAR, MANUEL MURILLO, OROBIO SINISTERRA
Photography: ANDRÉS PINEDA
Camera: FELIPE GUERRERO
Sound field recordings: CÉSAR SALAZAR, YESID VÁSQUEZ
Sound editing: ROBERTA AINSTEIN
Sound mixing: LENA ESQUENAZI
Music: IANNIS XENAKIS

With the support of
FDC Fondo para el Desarrollo Cinematográfico de Colombia
Programa IBERMEDIA
Hubert Bals Fund IFFR
CNAP Centre national des arts plastiques, France
FIDLab, FIDMarseille
BAL, BAFICI
Open Doors, Festival del Film Locarno


-TRAILER

CORTA SCREENINGS

IFFR Rotterdam, The Netherlands, January 2012
FICCI Cartagena de Indias, Colombia, February 2012
BAFICI Buenos Aires, Argentina, April 2012
JIFF Jeonju, South Korea, April 2012
DISTRITAL, Mexico City, June 2012
LIMA INDEPENDIENTE, Lima, June 2012
FIDOCS, Santiago de Chile, June 2012
SPLIT, Croatia, Septembre 2012
GARAGE Center for Contemporary Culture, Russia, September 2012
TTFF Medulla Art Gallery, Trinidad+Tobago, September 2012
DOK LEIPZIG, Germany, October/November 2012
BIM, Bienal de la Imagen en Movimiento, Buenos Aires, November 2012
FICCALI lugar a dudas, Colombia, November 2012
RIPBM, Rencontres Internationales Paris, December 2012
LA HABANA, Festival del Nuevo Cine Latinoamericano, December 2012
BABYLON Muestra cine actual colombiano. Berlin, April 2013
DOKFILMWOCHE, Hamburg, April 2013
LACLEF, Panorama du cinéma colombien, Paris-Barcelona, June 2013
LIMA INDEPENDIENTE, Colombia en foco. Lima, June 2013
RIPBM, Rencontres Internationales Berlin, June 2013
MARGENES, España, December 2013 Mención Especial del Jurado
ALUCINE, Canada, April 2014

Monday

CORTA LEIPZIG 2012



At first the sugar cane field looks like a huge green wall, a wall that will take the workers days to overcome. The sugar cane cutters begin their day by sharpening their machetes before they start to work. Blow by blow. The camera keeps its distance as it observes their smooth movements. Soon every sense of time is lost, the sugar cane cutters’ rhythmic movements develop their own choreography, and time seems to expand. The more sugar cane they cut the brighter the screen. The sky, the hill and the green landscape surrounding the field emerge. This flow is interrupted by a black screen like the end of a reel. Then the process begins again. The rhythm of the machetes and the workers’ steps on the dry leaves merge with the conceptual music of this film. Felipe Guerrero refrains from any sociological discourse about the cutters’ situation and working conditions. It’s the abstraction that brings out the exploitative element of this archaic labour all the more clearly. (Paulo de Carvalho)



* From the catalogue dok-leipzig.de

Friday

CORTA BOGOTA 2012


Corta, el documental de Felipe Guerrero, es al mismo tiempo una película sobre el trabajo, el cuerpo y sobre la propia materialidad del cine. Lo más evidente y expuesto en el film son los cuerpos de los corteros de caña de azúcar del Valle del Cauca, y el esfuerzo que emplean en sus faenas diarias. Al “mostrar” el trabajo físico, las oscilaciones entre gasto de energía y reposo, entre preparación y labor, entre espera y tarea efectiva, Corta reivindica la santidad laica del trabajo, en un país que se avergüenza de la labor material y que ha construido una galería de héroes pensantes y melancólicos, o de antihéroes que ordenan lo que otros deben ejecutar. Pero la sutil banda sonora del film, con sus otros niveles de narración, nos habla de más cuerpos (los cuerpos deseados de las canciones que se escuchan en la radio, con sus connotaciones sexuales; el cuerpo de Raúl Reyes, deseado como un trofeo de guerra del conflicto colombiano; el territorio como objeto de deseo de la libido capitalista).

Felipe Guerero es montajista (La playa DC, El páramo, El vuelco del cangrejo, Perro come perro) y, en cambio, ha hecho un film del corte, de la artesanía que supone construir una película, de la alquimia de producir sentido en los intersticios. Un sonido nos alerta de que el tiempo del rollo de 16 mm., en el que se filmó la película, ha terminado, y pasamos a otro tiempo, a otra secuencia. La película se quema como la tierra, para que vengan nuevas cosechas (y nuevos filmes) en un continuum, o más trágico aún, en un eterno retorno de lo mismo. La acumulación de cortes no progresa en un sentido narrativo tradicional con promesas de clímax y desarrollos, pero su suma nos enfrenta a un misterio, a una incomodidad, a la espera de una revelación que no se produce.

Corta
 es una inmersión en un tiempo estrictamente cinematográfico, aunque anclado a la realidad material que lo inspira, y en esa oscilación entre realidad y representación, más allá de la una y de la otra, es donde, al fin, se revela como un ejercicio de innegociable libertad creativa. (Pedro Adrián Zuluaga)

Monday

CORTA FIDOCS 2012


Una dinámica de los cuerpos, envueltos por el paisaje sonoro que ellos mismos propician al momento de realizar su trabajo. Corta es eso, y a su vez un estudio sobre la propia dinámica del corte cinematográfico, que utiliza como anclaje y soporte el trabajo de corte de caña de azúcar en Colombia. Una labor basada en la reiteración del esfuerzo físico, el cual Felipe Guerrero emparenta con la búsqueda de generar ese trance, ese estado cuasi hipnótico de los trabajadores en el propio espectador. Corta es una experiencia cinematográfica pura, que remite al cine primitivo a sus primeras representaciones y a aquellos lugares que captó en sus primeras vistas, estableciendo así como algunas formas de explotación siguen existiendo pese al paso de un siglo. 


Corta is the dynamic of bodies involved in the sound landscape they generate when carrying out their work. It is also a study of the dynamics of film as a medium, using the labor of cutting sugar cane in Colombia as its anchor and support. A labor that is based in the repetition of physical exertion, which Felipe Guerrero relates to the attempt of generating the workers’ trance, this quasi-hypnotic state, in the audience. Corta is a pure cinematographic experience that borrows from cinema’s initial representations and those places it captured its first vistas, establishing how some methods of exploitation continue to exist despite the passage of a century. (Raul Camargo)


Tuesday

CORTA JEONJU 2012


The process of harvesting sugar cane in Valle del Cauca in Columbia is exhausting and redundant. At the same time, the film Corta shows subtle musical beauty, which is the aesthetic source of the film. Having rich experience of editing many films, director Felipe Guerrero lays stress on long-take as cinematic rhythm in his works. In the rough harvesting process, workers sharpen blades, cut sugar canes, and set fire in the fields after harvest, and this signifies the similarly detailed process of filmmaking. Enraptured by the solid monotonousness in the site portrayed by fixed cameras, the audience will harvest the sweetness of rich perception from the rough images. What the director presents to us through the hard work of the workers is pure cinematic experience. The aspects of meditation created by the cinematic manifestation of material and time transcends the frame of time and space demarcated and limited by filming, guiding us to the dreamlike extra-sensory realm. In this film, the gap between documentary and poetry is not wide at all. (Seo Hyun-suk)

* Excerpt from the 2012 Jeonju International Film Festival Program book (Main Catalog)

Monday

CORTA BAFICI 2012

La repetición forma parte de la esencia del cine: la constante reiteración de fotograma tras fotograma es la que hace posible esa ilusión de movimiento. Por eso no resulta arbitrario que para su segundo film Felipe Guerrero haya elegido rodar en 16mm, un soporte en vías de extinción, al igual que la tarea que registra. En este último caso la repetición es sólo aparente: a lo largo de una serie de rollos, el registro de un grupo de trabajadores en una cosecha de caña de azúcar en la selva colombiana adquiere con cada capa de imágenes, con cada nuevo inicio, dimensiones extraordinarias.
Cine estructuralista en su mejor forma, aquel que, como definía P. Adams Sitney, “resalta su configuración formal y cualquier contenido narrativo es mínimo y subsidiario a su estructura”. En este caso, descansando buena parte de la narración en una precisa banda de sonido. Corta demuestra que con esas armas y cruzando a Leon Hirszman con Sharon Lockhart, y a ésta con Sísifo, es posible lograr emociones sinceras y atrapar al espectador en una dulce hipnosis cinematográfica.


Repetition is in the essence of cinema: the constant reiteration of frame after frame is what makes the illusion of movement possible. That is why it doesn’t seem arbitrary for Felipe Guerrero to chose to make his second film in 16mm, a format as endangered as the trade he documents. But now repetition is only an appearance: throughout a series of rolls, the documentation of a group of sugarcane workers in the Colombian jungle gains extraordinary dimensions with every layer of images and every new beginning. It’s structural film in its best shape, the one that according to P. Adams Sitney “brings out its formal configuration, and any narrative content is both minimal and a subsidiary of its structure”. In this case, this is accomplished by basing a great deal of the narration on a precise soundtrack. Corta shows that with these tools –and crossing Leon Hirszman with Sharon Lockhar (and her with Sisyphus)–, it is possible to draw sincere emotions and trap the viewers in a sweet cinematographic hypnosis.




* Del catálogo del BAFICI Buenos Aires Film Festival 2012

Thursday

CORTA IFFR 2012



Desiccated, browned canes are interspersed with verdant new growth-the dogged proliferation of tropical vegetation fills the frame. A man appears. This nameless man, a worker, wears galoshes, a wide-brimmed hat, and carries some work equipment and his lunch. He sets down his things, prepares himself, and then begins to cut the cane with his machete. The scene ends when the roll of film runs out. Black leader is bookended by flash frames, and the next shot begins. Again, tall canes fill the frame, yet this time, a man is already in the shot with his back to us. He stands motionless for a moment (what feels almost like a performative pause), and then begins to ready himself for work. This formula repeats, with variations in each scene, and a gradual progression reveals the entire process of sugar cane harvesting-from hand-cutting, to the appearance of industrial farm machinery that rolls toward the camera in tank-like fashion, grabbing and dumping the cane into bins, which are then loaded into shipping containers and driven away by semis. The field is then burned, raked, and the whole process begins again.

If this were a film simply about duration and endurance, it would have been shot on video and the entire film would have been one long take of men cutting cane. If this were a film just about labour, we would have seen them constantly cutting cane and being 'productive'. Rather than beginning shots with the workers mid-work, in Corta we are often made to witness the preparations, and the rituals of work instead of the work itself-clearly displayed accoutrement, the putting on and taking off of bandanas and hats, suiting-up and getting into character. Almost equal time is spent showing them sharpening their machetes, eating lunch under a makeshift tent, and changing out of work clothes into street clothes on a mound of cut cane. We are made to witness the human rhythms of work and non-work within a structure of production.

We hardly see faces. Specificity of person or place is not being explored; it is anonymous and abstracted into labor and laborer. This is neither an anthropological, nor voyeuristic gaze; rather, we are witnessing an invisible system, the system of industry that has been remotely imposed, outsourced to far-off lands, on to nameless, faceless people. And as arcane as this globalized system of production is, just as abstrusely, these images have travelled across the world onto our screens, and similarly, the product of their labor, sugar, appears discreetly on our tables.

Duration in Corta has as much to do with the audience, as it does these laborers. It translates their rhythm of work and repetition into cinematic terms, into short vignettes, with lengths determined by the film stock. We are made to witness the worker's Debordian confinement within pseudocyclical industrial time, while simultaneously subject to a cyclical cinematic structure that both mimics, and is experientially distinct from theirs. The worker's immobility within this system of commodified time is linked to that of the viewer within the imposed linear cinematic structure which ends just as it began.

The use of music in Corta points to necessary loopholes, and ambiguous spaces outside of this system. The same percussive, metallic drumming that the film commences with, returns throughout the film over the leader between scenes. This music contrasts the diegetic confinement within the images and liberates the viewer into a purely cinematic space, while only ambient noise, and sometimes the radio, is heard within the scenes. The intentionality, with which one of the labourers turns on his radio, pointedly signifies a distinctly proletariat sound, in contrast to the abstract percussive tracks, audible only to us. An exception to this delineation is the wistful song of one of the workers, which floats in and out of one scene. It is unclear who is singing, but we know why the caged bird sings. (Aily Nash)

De Filmkrant International Film Festival Rotterdam 2012

Wednesday

BIOFILMOGRAPHY


Felipe Guerrero was born in Colombia in 1975. He is a producer, director and editor. He holds a Degree in film editing from the Centro Sperimentale di Cinematografia of Rome in 1999. As an editor he has worked in internationally exhibited and award-winning films. 
His film Paraíso (2006) received the honor of a Special Mention for Directorial Debut at the FID Marseille. 
Corta (2012) had its premiere at the Rotterdam Film Festival 2012 (Bright Future), and has featured at the FICCI in Cartagena de Indias, BAFICI in Buenos Aires, JIFF in Jeonju, South Korea, and FIDOCS in Santiago de Chile, among others.
After the experience of his first two films, in 2011 he founded his own production company, mutokino. 
His project Oscuro Animal, his first fictional feature film currently in development, was developed at the workshop Análisis de Proyector Cinematográficos of Fundación Typa in Colón, Entre Ríos, Argentina; and at the Rotterdam Lab for projects in development of the International Film Festival Rotterdam (IFFR), Netherlands.
Oscuro Animal has received grants from the Proimagenes Colombian Film Fund and the Hubert Bals Fund IFFRotterdam, for the Script and Project Development.
Oscuro Animal has recently received from Proimagenes Colombia Film Fund the support for Production.
mutokino is currently co producing with Contravia Films the short film Nelsa 
(granted by Proimagenes Colombian Film Fund).

Thursday

PARAISO (2006)


PARAISO
A film by Felipe Guerrero
Colombia, 2006. 55 min. Super8 & archives
Spanish. English subt.

Direction, Production and Camera: Felipe Guerrero
Edition: Mónica Rubio
Sound & Music: Roberta Ainstein, Ezequiel Borra, Sebastián Escofet, Zu
Voice: Jaime Jaramillo Escobar

With the support of
FDC Fondo para el Desarrollo Cinematográfico de Colombia

FIDMarseille 06, France Mention Spéciale Prix Premier
Docúpolis 6, Spain Best Experimental Documentary Film
DocBsAs/06, Argentina
Viennale06 Vienna International Film Festival, Austria
Les Écrans Documentaires 2006, France
Festival des 3 Continents 2006, France
Festival dei Popoli Firenze 2006, Italy
International Film Festival Rotterdam 2007, The Netherlands
FICCO Ciudad de México 2007, México
Documentair FilmPlatform ZONE 2007, Belgium
Festival Internacional de Cine de Mar del Plata 2007, Argentina
Rencontres Cinémas D'Amérique Latine de Toulouse 2007, France
Full Frame Documentary Film Festival 2007, United States
Tekfestival 2007, Italy
Encuentros del Otro Cine 2007, Ecuador
Muestra Internacional Documental 2007, Colombia
Festival Internacional Cine Valdivia 2007, Chile
Itinéraires Images et réalités en Amérique Latine 2007, Belgium
Rencontres internationales du documentaire de Montréal 2007, Canada
Rencontres Internationales Paris 2007, France
Festival de Cine y Video de Santa Fe de Antioquia 2007, Colombia
Miami International Film Festival 2008, United States
Rencontres Internationales Madrid 2008, Spain

Mención Honorífica del Premio Nacional de Documental 2007, Colombia

TV Exhibition 2008-2009 Señal Colombia

-Trailer




Dans ce beau film d’une heure en super 8, le cinéaste mêle description du quotidien colombien et autofiction. En mélangeant ainsi les genres, il réussit brillamment à proposer une vision inattendue de son pays vu à travers le prisme de l’exil (Guerrero a quitté volontairement la Colombie). Chaque plan du film est métamorphosé par le regard exigeant du cinéaste qui se rapproprie la Colombie d’aujourd’hui. Ce territoire imaginaire qui défile sous nos yeux est celui de l’enfance, de ses drames et de sa déchirure ; c’est aussi celui d’un pays meurtri par les guérillas, une réalité politique que Felipe Guerrero retranscrit avec talent.

Romain Carlioz, Le Magazin Info, August 2006

Felipe Guerrero a réalisé un poème visuel et sonore sur la Colombie. Paraiso est un documentaire esthétique, une vision perceptuelle composite. Cependant, la transformation d’images et de documents au fort référent politique en un éblouissement kaléidoscopique ne convainc pas, car l’effet de fascination l’emporte, malgré l’ironie du titre.
Anne Bonnin, 02 À MARSEILLE N°5, Automne 2006

An impressionistic picture of Colombia rendered in Super 8 and by the noise produced by images: a walking man becomes his footsteps, the construction of a house a turning cement mixer, while a rose is the rustle of falling petals and the forest the buzzing of insects. Then there is the wind and sea. Alternating black and white and colour footage, the camera-cars take in bidonvilles and traffic scenes, while from the archives there emerge clips of military parades and of life in the forest. The few spoken words are snatches of poetry from the Colombian Nadaism tradition. The fragmentary nature of the editing and music depict contemporary Colombia as a paraíso that is hard to explain.
Festival dei Popoli Firenze, December 2006

The images won't clarify to you what exactly is going on. Not the names of the people you see, nor the specific situations you watch, nor even what the filmmaker shot and what footage and newsreels he found. But you don't have to be an expert on the history of Colombia during the last 60 years to perceive the uneasy, complex, explosive and sometimes contradictory feelings of what it would be like to live in that 'Paradise'. Inspired by a literary movement that took place in Colombia during the 50's and 60's called Nadaísmo, the images, sounds and a few pieces of Jaramillo's poetry are meant to create a disorienting effect, get the viewer to "experience" the film more than to be lectured or taught by the filmmaker about the past and the present of the country. And, as the poet says at the end, it doesn't really matter if you "understand it" — it matters that you care and are provoked, fascinated and even confused by it.
Diego Lerer, A New Wave of Latin American Documentaries, Fipresci Report 2007

Shot entirely on Super-8mm, this extraordinary experimental film is a passionate collage of life, love, work, and politics in Colombia. Evoking the revolutionary aesthetics of Vertov, Guerrero's use of montage and dissonant sound fleshes out an everyday human and physical landscape, challenging the narco-centric representations of this beleaguered nation. Throughout, a fascination with the marvels of cinema makes each frame a captivating reflection on movement, light, and texture. Shilyh Warren, Full Frame Documentary Film Festival, April 2007

En una selva de significados entrecruzados, con la belleza por única brújula, los fragmentos de muchas memorias van creando poco a poco un profundo sentido. Lo que construye la gente común a lo largo de su vida, la guerra lo convierte en ruinas. A pesar de las apariencias, Paraíso es un documental sobre la Colombia contemporánea, paraíso en guerra.

Juan Martín Cueva, Encuentros del Otro Cine, May 2007

The rude health of late of Latin American documentary is beyond the bounds of this review, but the directorially assured and conceptually rich abstract, poetic piece Paraíso (Felipe Guerrero, 2006) adds further depth to the current trend.
Crisp archive footage of past and present social conflicts blend into images of other mythical aspects of Colombian lore – crystal-clear sea, jungle, Bogotá's modernity, street vendors, peasant mobilisations, Botero sculptures, cut-flower-sellers, people scavenging through rubbish tips... – transmitted via found footage, grainy super-8 images and time-lapse photography, and combining an array of colour schemes, gauges and formats of film stock against an abstract sound-collage. Together these elements attain a sensory experience that both suggests and belies the rhetorical “paradise” of the title that many Colombians would have us believe is their country.

David M. J. Wood, Senses of Cinema, Issue n. 44, Jul-Sept 2007

Sans dialogue et sans commentaires mais avec de très belles images percutantes, Paraíso dépeint le cauchemar d'une Colombie en décomposition. Dans ce pays, les mots ont été tu(é)s. On n'entend que les mensonges d'État et la stridence de la guerre civile enfouie. En ville ou dans la forêt, le peuple voudrait vivre, mais il se cache. L'urbanisation vire à la clochardisation, tandis que dans les montagnes, militaires et paramilitaires guettent et détruisent. Une oeuvre expérimentale troublante.
Rencontres internationales du documentaire de Montreal, November 2007

Paraíso es un documental omnisciente que se mueve libremente en el espacio y en el tiempo, en donde el narrador -la cámara- viaja bellamente a través de situaciones y emociones de la cotidianidad colombiana, sin necesidad de recurrir a apologías o explicaciones en pantalla.
La visión organizadora central del director se percibe como un largo poema elegíaco que evoca con una posición claramente política, a la Colombia de hoy, esquilmada por la pobreza, la violencia, el desorden y la soberbia política.

María Valencia Gaitán, Premio Nacional Documental 2007, Colombia



Tuesday

EDITED FILMS


Monte adentro by Nicolás Macario Alonso (Colombia, 2014, 79 min.)
FICCI Cartagena de Indias. Colombia 2014
Visions du Réel Nyon 2014

Alba de un recuerdo by Camila Rodriguez Triana (Colombia, 2013, 15 min.)
Festival dei Popoli 2013
Best Short Film Prize FICCALI 2013

Ricardo Bär by Nele Wohlatz, Gerardo Naumann (Argentina, 2013, 90 min.)
BAFICI 2013
Mention Spéciale Prix Premier FIDMarseille 2013
Viennale 2013
First Film Award Duisburger Filmwoche Germany 2013
DocPoint Helsinki 2014

¡Volveremos a las montañas! by Andrés Di Tella (Argentina, 2012, 50 min.)
Festival Internacional de Cine de Mar del Plata 2012

La pasión de Michelangelo by Esteban Larraín (Chile, 2012, 108 min.) co-e/Soledad Salfate
Festival Internazionale del Film di Roma 2012
Palm Springs IFF 2013

La Playa DC by Juan Andrés Arango (Colombia, 2012, 90 min.)
Un Certain Regard Cannes 2012
Best Director's Debut Film Prize Festival de Lima 2012
Best Director Prize Sanfic Chile 2012
Festival de San Sebastián 2012
Busan IFF 2012
Palm Springs IFF 2013
Best Editing Award Premio Nacional de Cine. Colombia 2013

El hombre que vivió en un zapato by Gabriella Gomez-Mont (Mexico, 2011, 90 min.)
Festival Internacional de Cine de Morelia 2011
Distrital Mexico 2012

El Páramo by Jaime Osorio Márquez (Colombia, 2011, 107 min.) co-e/Sebastián Hernadez
Citizen Kane Award to an up-and-coming director Sitges 2011
Best Screenplay Prize Festival Internacional de Cine en Guadalajara 2012
Festival Internacional de Cine de Mar del Plata 2012
Best Editing Award Premio Nacional de Cine. Colombia 2012

Hachazos by Andrés Di Tella (Argentina, 2011, 80 min)
Rio Negro Proyecta Argentina 2011
É Tudo Verdade Brasil 2012
Sanfic Chile 2012
Festival dei Popoli 2012

La Hortúa by Andrés Chaves (Colombia, 2011, 23 min.)
Visions du Réel Nyon 2011
Festival del Nuevo Cine Latinoamericano La Habana 2011

Los Jóvenes Muertos by Leandro Listorti (Argentina, 2009, 70 min.)
IDFA 2009
Festival Internacional de Cine de Guadalajara 2010
Viennale 2010
Prix des Ecrans documentaires Les Ecrans Documentaires 2010

Dulce espera by Laura Linares (Argentina, 2010, 80 min.)
Festival de Cine de Málaga 2010

El Vuelco del Cangrejo by Oscar Ruiz Navia (Colombia, 2009, 90 min.)
Toronto International Film Festival 2009
Special Jury Prize Festival del Nuevo Cine Latinoamericano La Habana 2009
FIPRESCI Prize Forum Berlinale 2010
Best New Director Prize Festival Internacional Las Palmas Gran Canarias 2010
Youth Jury Prize Festival International de Films Fribourg 2010
Découverte Prize Rencontres Cinémas d’Amérique Latine Toulouse 2010
BAFICI 2010
Jeonju International Film Festival Korea 2010

Diletante by Kris Niklison (Argentina, 2008. 72 min.)
Best Film Prize Festival Internacional de Cine de Mar del Plata, Argentina 2008
FIDMarseille 2009
Best Documentary Prize Festival Internacional de Cine de Cartagena de Indias 2010

Alicia en el País by Esteban Larraín (Chili, 2008. 86 min.)
Special Jury Prize Locarno International Film Festival 2008
Special Mention Bangkok International Film Festival 2008
Best First Film, Best Sound Design, Special Jury Prize
Festival Cine Latinoamericano Trieste 2008
Best Film Prize Festival Internacional de Documental Navarra Punto de Vista 2009

Parafernalia by Massimo Coppola, Giovanni Giommi (Italy, 2008. 75 min.)
Locarno International Film Festival 2008

Perro come Perro by Carlos Moreno (Colombia, 2008. 106 min.) co-e/Santiago Palau, Carlos Moreno
Sundance Film Festival 2008
Best Actor Festival Internacional de Cine Guadalajara 2008
Best Screenplay Prize Festival Latinoamericano Huelva 2008
Best Editing Award Premio Nacional de Cine. Colombia 2008

Gigantes de Valdés by Alex Tossenberger (Argentina, 2008. 100 min.)

Hunters since the beginning of time by Carlos Casas (Italy, 2008. 87 min.)
FIDMarseille 2008
Best Documentary Prize FICCO 2008

Regresados by Flavio Nardini, Cristian Bernard (Argentina, 2007. 95 min.)
Roberto Tato Miller Award Festival Internacional de Cine de Mar del Plata 2007

Soledad al fin del mundo by Carlos Casas, Fernando Zuber
(Argentina, 2005. 52 min.)
Special Prize of the Jury BAFICI 2006
Jeonju International Film Festival Korea 2006

El velo de Berta by Esteban Larraín (Chili, 2004. 73 min.)
IDFA 2004
Special Mention Festival Tre Continenti Milano 2005
Best Film Prize Festival Ecofilms Greece

Aral Fishing in a invisible sea by Carlos Casas, Saodat Ismailova
(Italy, 2004. 52 min.)
Best Documentary Prize Torino Film Festival 2004
Special Mention Documenta Madrid 2005
Visions du Reel Nyon 2005

Echi di pietra by Sara Pozzoli (Italy, 2003. 51 min.)
Torino Film Festival 2004
Mostra Internazionale del Nuovo Cinema di Pesaro 2014

Lu rusciu te lu mare by Fluid Video Crew (Italy, 2000. 38 min.)

I Fantasisti by Fluid Video Crew (Italy, 2000. 63 min.)

Tipperary by Lisa Pancrazi (Italy, 2000. 14 min.)
Best Film Prize, RaiCinema Prize Trevignano International Short Film Festival 2000

Baal by Marcello Cava (Italy, 2000. 80 min.)

Fuck you all - A portrait of Glen E. Friedman by Fluid Video Crew
(Italy, 1999. 20 min.)

Casilino 700 by Jurij Razza (Italy, 1999. 24 min.)
Filmmaker Festival Milano 2000