<



EVERY FOUR FRAMES
Jury Prize for the Best Short Film, Lucca Film Festival 2009
Vallecas Puerta del Cine 2010 International Experimental Film and Video Festival, Finalist



Screenings:

Lucca Film Festival 2009 (Italia, October 2009)
The 8 Fest (Canada, January 2010)
Videographies, Festival des images expèrimentales et numèriques (Belgium, March 2010)
La Fábrica Art Gallery (Spain, June 2010). The Amalgama Collective.
​Peripheral Film Festival (Xacobeo 2010. Spain, June 2010).
3º Muestra de cine experimental y videoarte LBA, Filmoteca de Albacete (Spain, June 2010)
EXiS, Experimental Film and Video Festival in Seoul (South Korea, September 2010)
International Super 8 Festival Szeged (Hungary, September 2010)
KLEX, Kuala Lumpur Experimental Film and Video Festival (Malaysia, October 2010)
Flicker Spokane Film Festival (USA, October 2010)
Vallecas Puerta del Cine International Experimental Film and Video Festival (Spain, November 2010)
Muestra de pequeño formato cinematográfico (Spain, February 2011)
19th Annual 100$ Film Festival (Canada, March 2011)
Cherry Kino (Leeds, UK, May 2011)
Upcoming Screening:
Kaunas Biennial, organised by Laura Garbstiene

...............................................................................................................

A film constructed from destruction with the piercing or perforation of its footage, the different
Super 8 fragments of selected archive images. Although, at first, its identity is one of attack,
the film does not only speak of hostility towards its support, it is not only about the breaking down
of pictures but also offers sediments of intentions that speak of the opposite, of positive assaults
with a clear structural vocation. Every four frames the film ́s body is punctured, the holes revealing
the cinematographic mechanism’s entrails: the screen and light.

The Super 8 reel’s contemplation warns us that it is not just an audiovisual product. The string
of perforations that make up its structure gives it an added objectual value, strewn with sculptural
connotations, placing the film in a neighborhood where with works from other genres also reside:
for example, the interventions of Gordon Matta-Clark, the cuts introduced in different buildings and,
more specifically, the similarity of the forms remind us of “Conical Intersect”. They even share
strategies because the making of this film fundamentally stems from applying the jobs of debris
removal and extraction of material (visual) on source reels which amass diverse images.

During the minute and a bit the film lasts, the most emblematic cinema is unable to avoid the censure
of the punches. Images of Marilyn Monroe, James Stewart, 20th Century Fox, etc. appear demolished
amongst exact cadences.