{"id":3867,"date":"2024-09-30T21:27:37","date_gmt":"2024-10-01T02:27:37","guid":{"rendered":"https:\/\/midbo.co\/?page_id=3867"},"modified":"2024-10-27T19:38:17","modified_gmt":"2024-10-28T00:38:17","slug":"programas-de-cortometrajes-26-midbo","status":"publish","type":"page","link":"https:\/\/versiones.midbo.co\/26\/programas-de-cortometrajes-26-midbo\/","title":{"rendered":"PROGRAMAS DE CORTOMETRAJES 26 MIDBO"},"content":{"rendered":"\t\t
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PROGRAMAS DE CORTOMETRAJES 26 MIDBO<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Vestigios que arden
S\u00e1bado 2 nov. 7pm<\/i><\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u201cen la huella nos hacemos con las cosas\u201d W. <\/span>Benjamin<\/span><\/p>

Los cuatro cortometrajes de este programa (<\/span>Arkh\u00e9<\/span><\/i>, <\/span>La noche del minotauro<\/span><\/i>, <\/span>Tartess\u00f6s<\/span><\/i> Dune <\/span><\/i>y<\/span> 84)<\/span><\/i> interrogan los vestigios materiales de otro tiempo, de alg\u00fan pasado, y con esa indagaci\u00f3n los transforman o reinventan. Cada archivo visual que los trabajos acogen no solo trae noticias del pasado, con sus cat\u00e1strofes y movimientos, rebeld\u00edas y resistencias, fiestas y duelos. Estos archivos son tambi\u00e9n la evidencia de que la historia produce ruinas, l\u00edneas de fuga, monstruosidades, disidencias; no avanza en l\u00ednea recta, da tumbos. El archivo tiene que ver desde su misma ra\u00edz como palabra con el origen, con lo fundante. Pero ning\u00fan origen est\u00e1 dado de antemano ni resulta f\u00e1cil de ver; el origen siempre est\u00e1 sumergido y hay que excavar para que vuelva a aparecer. El origen es lo que hay que encontrar. El cine es un buen lugar para dar a ver, y reescribir la mirada (que no es otra cosa que una forma de estar en el mundo). En los cuatro cortos el gesto fundante son las preguntas que se les hacen a los archivos buscados o encontrados, su forma de operar sobre ellos \u2014con ellos\u2014. En esas preguntas rugen, no las claves del pasado, sino las del porvenir: presagios de un entendimiento futuro, indicios de otros linajes e hilos con los que tejer nuevas historias para congregarnos. Estos vestigios arden porque siguen queriendo hablar y ser escuchados.\u00a0\u00a0<\/span><\/p>

Programa y textos por Pedro Adri\u00e1n Zuluaga<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Arkh\u00e9<\/span><\/h3>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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La noche del Minotauro<\/span><\/h3>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Tartessos Dune<\/span><\/h3>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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84<\/span><\/h3>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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De la promesa a la f\u00e1bula
Viernes 1 nov. 7:30pm<\/i><\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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De la promesa a la f\u00e1bula<\/i> agrupa tres obras que indagan en la densa y ambivalente relaci\u00f3n entre el ser humano y la geograf\u00eda, abordada desde un prisma emocional y \u00e9tico. En cada uno de estos cortometrajes, el paisaje tiene un car\u00e1cter protag\u00f3nico, define la identidad de sus habitantes y encarna tensiones hist\u00f3ricas. Estos territorios, lejos de ser contenedores, se presentan como entidades vivas que dejan ver la intrincada red de promesas y f\u00e1bulas que configuran la relaci\u00f3n humana con el entorno.<\/p>\n

En About Happy Hippos and Sad Peacocks<\/i>, Calder\u00f3n y F\u00f6rster llevan la narrativa m\u00e1s all\u00e1 de lo humano al otorgar voz a lo animal. Los hipop\u00f3tamos del r\u00edo Magdalena y los pavos reales de Berl\u00edn se convierten en protagonistas de su propio destino, reflejando las absurdas apropiaciones humanas que han transformado sus paisajes. Estos escenarios, distantes en el tiempo y el espacio, convergen en una l\u00f3gica com\u00fan: la promesa incumplida de dominaci\u00f3n sobre la naturaleza. El resultado es una nueva ecolog\u00eda imprevista, cargada de tensiones entre historia, violencia y paisaje. La geograf\u00eda aqu\u00ed resiste y se rebela contra las imposiciones humanas. La promesa de control se quiebra, dejando un espacio donde lo no-humano cuestiona y desaf\u00eda nuestras concepciones.<\/p>\n

En O Sil\u00eancio Elementa<\/i>r, Mariana de Melo explora la paradoja de la vida minera en Minas Gerais. La geograf\u00eda que da forma a la identidad de los trabajadores es destruida en el proceso de extracci\u00f3n que asegura su subsistencia. De Melo captura tanto la devastaci\u00f3n material como la emocional, planteando un dilema \u00e9tico profundamente contempor\u00e1neo: el colapso f\u00edsico y simb\u00f3lico del entorno, que obliga a reconsiderar el lazo afectivo con la tierra. El desaf\u00edo aqu\u00ed no es s\u00f3lo preservar el espacio que se degrada, sino mantener una conexi\u00f3n emocional con un paisaje que ya no puede ofrecer estabilidad ni permanencia. La promesa de progreso se convierte en una f\u00e1bula melanc\u00f3lica, donde la supervivencia y la devastaci\u00f3n est\u00e1n entrelazadas en un ciclo sin fin. <\/p>\n

Nueva Esperanza<\/i><\/span>, de Carlos Renter\u00eda, nos transporta a las periferias de una ciudad andina suspendida, donde dos personajes vagan por un paisaje entre la realidad y el espejismo. La obra, evocando un tr\u00edptico de El Bosco, fragmenta el espacio en escenas cargadas de elementos dispares: un hombre con un acorde\u00f3n, un exiliado trabajando en un recinto vacacional vac\u00edo que sue\u00f1a y recuerda una guerra. En este contexto, la promesa de progreso y del retorno al pa\u00eds de origen se revela como un espejismo. La textura del 16mm intensifica la sensaci\u00f3n de irrealidad, desdibujando las fronteras entre lo f\u00edsico y lo simb\u00f3lico, lo vivido y lo so\u00f1ado. <\/span><\/p>\n

A trav\u00e9s de estas tres obras disonantes, surge la cuesti\u00f3n de c\u00f3mo el cine explora las reconfiguraciones del poder entre humanos y territorios, y da voz a narradores silenciosos que desestabilizan la relaci\u00f3n entre historia, realidad, ficci\u00f3n y verdad. \u00bfPuede el cine, con su vasto l\u00e9xico cinematogr\u00e1fico, mantener la tensi\u00f3n entre la representaci\u00f3n del desastre y la posibilidad de redimirlo?<\/p>\n

Programa y textos por B\u00edbata Uribe<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Acerca de hipop\u00f3tamos felices y pavos reales tristes<\/h3>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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El silencio del hierro<\/h3>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Nueva esperanza<\/h3>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Bajo estas aguas hubo un pueblo
S\u00e1bado 2 nov. 4pm<\/i><\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Pensar la memoria como acci\u00f3n continua y la historia como construcci\u00f3n inacabada es una de las voluntades de este programa que propone un di\u00e1logo retrospectivo a partir de la coincidencia en nuestro presente de tres pel\u00edculas de distinta procedencia que vuelven sobre un hecho com\u00fan: la inundaci\u00f3n de un valle y el desplazamiento de su poblaci\u00f3n para la construcci\u00f3n de una represa. El embalse de Ria\u00f1o al norte de Espa\u00f1a en el caso del cortometraje de Miriam Martin, <\/span>Vuelta a Ria\u00f1o<\/span><\/i>, y el embalse Pe\u00f1ol-Guatap\u00e9 en los casos de <\/span>El Pe\u00f1ol, <\/span><\/i>pel\u00edcula inconclusa de Alberto Aguirre y Carlos \u00c1lvarez, y <\/span>El recuerdo de los \u00faltimos<\/span><\/i>, cortometraje de Simone Cardona<\/span>.<\/span><\/i> Pel\u00edculas que se inscriben formal o instintivamente en pr\u00e1cticas contempor\u00e1neas de trabajo con archivos como medios para interpelar, revisar o reinterpretar narrativas instauradas sobre la historia de poblaciones y territorios. Dec\u00eda Derrida que volver accesible una obra \u2014y el archivo tambi\u00e9n es una obra\u2014 es someter una interpretaci\u00f3n a una interpretaci\u00f3n.\u00a0 Volver accesible una obra permite reparar en los desajustes de la historia para volver a enunciarla. <\/span>Vuelta a Ria\u00f1o<\/span><\/i>,<\/span> El Pe\u00f1ol <\/span><\/i>y <\/span>El recuerdo de los \u00faltimos <\/span><\/i>impulsan en su pr\u00e1ctica la activaci\u00f3n de memorias colectivas vinculadas a reg\u00edmenes de despojo,<\/span> adoptando posiciones pol\u00edticas y est\u00e9ticas frente a los materiales audiovisuales desde distintos procesos: intervenci\u00f3n, recuperaci\u00f3n, reordenaci\u00f3n. En un presente pantanoso, este programa apela a una performatividad del archivo que hace del cine un acto de memoria.<\/span><\/p>

Programa y textos por Juliana Arana<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Vuelta a Ria\u00f1o<\/h3>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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El Pe\u00f1ol (1978)<\/h3>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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El recuerdo de los \u00faltimos<\/span><\/h3>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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El latido que alimenta los umbrales
Viernes 1 nov. 4pm<\/i><\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u201cPor principio de cuentas, yo nunca salgo a \u201cbuscar un paisaje\u201d:<\/span>
siempre dejo que el paisaje me busque a mi<\/span>
que se eche violentamente sobre mi sensibilidad.\u201d<\/span>
Dr. Atl<\/span><\/p>

Un impulso atento y constante aviva la fuerza de las im\u00e1genes que re\u00fane este programa.\u00a0<\/span>Estos cortos rinden tributo a una sensibilidad activa, a una corriente que nutre la certeza de que convivimos con fuerzas vivas que emanan entre las piedras. Un acercamiento particular a la tierra, los animales y la noche, late en estos trabajos alimentando conexiones donde se hace evidente que no es lo que vemos, sino c\u00f3mo lo vemos, aquello que nos permite expandir nuestras realidades. Cada corto presenta una mirada personal y sensible frente a la materia. No se trata ac\u00e1 de buscar, sino de agudizar la mirada para percibir aquello que nos rodea y redefinir nuestra conexi\u00f3n con el mundo. Cada cortometraje, a su manera, lucha contra el desarraigo, dibujando ra\u00edces profundas ancladas a la herencia de una tierra que se revela impulsiva. <\/span>Lo Que Los Humanos Ven Como Sangre, Los Jaguares Ven Como Chicha<\/span><\/i> de la boliviana Luciana Decker Orozco, <\/span>Los Dos Lados De La Tortuga<\/span><\/i> del ecuatoriano Oscar Illingworth, <\/span>Toda la noche vi crecer el fuego<\/span><\/i> del mexicano Rodrigo Alonso Kahlo, <\/span>La historia se escribe de noche <\/span><\/i>del cubano Alejandro Alonso y <\/span>Terpeniev<\/span><\/i> del argentino Manuel del M\u00e9dico, muestran el excelente estado en el que se encuentra el cortometraje latinoamericano y develan la inagotable fuente de inspiraci\u00f3n que es la tierra, la tradici\u00f3n y la historia de los pa\u00edses de Am\u00e9ricalatina.<\/span><\/p>

Programa y texto por Juan Pablo Franky<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Terpeniev<\/span><\/h3>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Los dos lados de la tortuga<\/span><\/h3>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Lo que los humanos ven como sangre, los jaguares ven como chicha<\/span><\/h3>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Toda la noche vi crecer el fuego<\/span><\/h3>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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La historia se escribe de noche<\/h3>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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PROGRAMAS DE CORTOMETRAJES 26 MIDBO Vestigios que ardenS\u00e1bado 2 nov. 7pm \u201cen la huella nos hacemos con las cosas\u201d W. 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