February 28 - March 4, 2018
Film Society of Lincoln Center

 

Now in its third year, Neighboring Scenes is the Film Society’s showcase of contemporary Latin American cinema. Highlighting impressive recent productions from across the region, this selective slate of premieres exhibits the breadth of styles, techniques, and approaches employed by Latin American filmmakers today. Neighboring Scenes spans a wide geographic rang, featuring established auteurs as well as fresh talent from the international festival scene. Presented by the Film Society of Lincoln Center and Cinema Tropical.

Organized by Carlos A. Gutiérrez and Cecilia Barrionuevo.

 

All screenings at the Walter Reade Theater
165 W. 65th Street, north side, upper level, New York City
(212) 875-5601 / www.filmlinc.org

 

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Special thanks to Emanuel Lobo de Andrade and Beatriz Canepa D’Alessandro, Consulate General of Brazil
in New York; Caterina Toscano and Fernanda de la Torre, Mexican Cultural Institute of New York;
Eduardo Almirantearena, Consulate General of Argentina in New York; Marcelo Alderete; John Campos Gomez; Pablo Conde; Erick Gonzalez; Meghan Monsour; Matías Piñeiro; Mexican Agency for International Development Cooperation (AMEXCID); Mexico’s Ministry of Foreign Affairs.

 
  ALANIS  (Anahí Berneri, Argentina, 2017, 82 min. In Spanish with English subtitles. U.S. Premiere)  Q&A with Anahí Berneri   Buy Tickets   Winner of the Best Director and Best Actress awards at the San Sebastian Film Festival, the fifth feature by Argentine filmmaker Anahí Berneri is a poignant and compelling drama that portrays three days in the life of a young Buenos Aires mother and sex worker struggling to survive. Featuring a potent performance by Sofía Gala Castiglione in the title role (alongside her real-life son Dante), the film offers an unsentimental and non-moralizing take on a self-determined woman trying to live her unapologetic life while facing contradictory prostitution laws that are intended to protect her but often do the opposite.   Wednesday, February 28, 7pm     

ALANIS
(Anahí Berneri, Argentina, 2017, 82 min. In Spanish with English subtitles. U.S. Premiere)
Q&A with Anahí Berneri
Buy Tickets

Winner of the Best Director and Best Actress awards at the San Sebastian Film Festival, the fifth feature by Argentine filmmaker Anahí Berneri is a poignant and compelling drama that portrays three days in the life of a young Buenos Aires mother and sex worker struggling to survive. Featuring a potent performance by Sofía Gala Castiglione in the title role (alongside her real-life son Dante), the film offers an unsentimental and non-moralizing take on a self-determined woman trying to live her unapologetic life while facing contradictory prostitution laws that are intended to protect her but often do the opposite.

Wednesday, February 28, 7pm

 

  ANTÓNIO, ONE, TWO, THREE  ( António um dois três , Leonardo Mouramateus, Portugal/Brazil, 2017, 95 min. In Portuguese with English subtitles. U.S. Premiere)  Buy Tickets   Reminiscent of the films of Hong Sang-soo and Matías Piñeiro, Mouramateus’s debut offers a simple yet scrambled tale of love, longing, and the theater. After angering his father, António seeks refuge in his ex-girlfriend Mariana’s Lisbon apartment, where he meets Débora, a Brazilian woman on her way to Russia. Inevitably, he ends up romantically involved in different ways with each of them. Meanwhile, António’s autobiographical play—which borrows from Dostoevsky's  White Nights —complicates our understanding of his motivations and our own relationship to the film (which is also based on  White Nights ). As the film goes on, repetitions of scenes (with slight alterations) further speak to the ambivalence of young love.   Wednesday, February 28, 9:15pm    

ANTÓNIO, ONE, TWO, THREE
(António um dois três, Leonardo Mouramateus, Portugal/Brazil, 2017, 95 min. In Portuguese with English subtitles. U.S. Premiere)
Buy Tickets

Reminiscent of the films of Hong Sang-soo and Matías Piñeiro, Mouramateus’s debut offers a simple yet scrambled tale of love, longing, and the theater. After angering his father, António seeks refuge in his ex-girlfriend Mariana’s Lisbon apartment, where he meets Débora, a Brazilian woman on her way to Russia. Inevitably, he ends up romantically involved in different ways with each of them. Meanwhile, António’s autobiographical play—which borrows from Dostoevsky's White Nights—complicates our understanding of his motivations and our own relationship to the film (which is also based on White Nights). As the film goes on, repetitions of scenes (with slight alterations) further speak to the ambivalence of young love.

Wednesday, February 28, 9:15pm

 

  THE SUMMIT   ( La cordillera , Santiago Mitre, Argentina/France/Spain, 2017, 114 min. In Spanish with English subtitles. New York premiere)  Q&A with Santiago Mitre   Buy Tickets   Santiago Mitre ( The Student ) continues his ongoing cinematic investigation into politics with his third feature, set at a summit of Latin American presidents in Chile. Here, the Argentine president—played by acclaimed actor Ricardo Darín—endures a political and familial drama that will force him to face his own demons. This high-profile thriller, an official selection at the Cannes Film Festival’s Un Certain Regard section, boasts an impressive international cast including Dolores Fonzi, Erica Rivas ( Wild Tales ), Elena Anaya ( The Skin I Live In ), Paulina García ( Gloria ), Daniel Giménez Cacho ( Zama ), Alfredo Castro ( The Club ), and Christian Slater.   Thursday, March 1, 6:30pm

THE SUMMIT
(La cordillera, Santiago Mitre, Argentina/France/Spain, 2017, 114 min. In Spanish with English subtitles. New York premiere)
Q&A with Santiago Mitre
Buy Tickets

Santiago Mitre (The Student) continues his ongoing cinematic investigation into politics with his third feature, set at a summit of Latin American presidents in Chile. Here, the Argentine president—played by acclaimed actor Ricardo Darín—endures a political and familial drama that will force him to face his own demons. This high-profile thriller, an official selection at the Cannes Film Festival’s Un Certain Regard section, boasts an impressive international cast including Dolores Fonzi, Erica Rivas (Wild Tales), Elena Anaya (The Skin I Live In), Paulina García (Gloria), Daniel Giménez Cacho (Zama), Alfredo Castro (The Club), and Christian Slater.

Thursday, March 1, 6:30pm

  SOLITARY LAND   ( Tierra sola , Tiziana Panizza, Chile, 2017, 107 min. In Spanish, Rapa Nui, and English with English subtitles. U.S. Premiere)  Buy Tickets   Easter Island (Rapa Nui) has long been a grand mystery of archeology—how did such a large civilization fall, and does it foreshadow our own ruin? For the indigenous people who currently live there, the island’s past carries a very different legacy: one of colonial abuse and inescapable remoteness. Panizza’s film shows the legacy of this exploitation, as well as the daily rhythms of the small prison on the island, in a film constructed from pieces of 32 documentaries (many of which include similar voiceovers and framing, despite being shot by crews from different countries) and original present-day footage. Winner of Best Chilean Film at the Valdivia Film Festival.   Thursday, March 1, 9pm    

SOLITARY LAND

(Tierra sola, Tiziana Panizza, Chile, 2017, 107 min. In Spanish, Rapa Nui, and English with English subtitles. U.S. Premiere)
Buy Tickets

Easter Island (Rapa Nui) has long been a grand mystery of archeology—how did such a large civilization fall, and does it foreshadow our own ruin? For the indigenous people who currently live there, the island’s past carries a very different legacy: one of colonial abuse and inescapable remoteness. Panizza’s film shows the legacy of this exploitation, as well as the daily rhythms of the small prison on the island, in a film constructed from pieces of 32 documentaries (many of which include similar voiceovers and framing, despite being shot by crews from different countries) and original present-day footage. Winner of Best Chilean Film at the Valdivia Film Festival.

Thursday, March 1, 9pm

 

  BEAUTIES OF THE NIGHT  ( Bellas de noche , María José Cuevas, Mexico, 2016, 91 min. In Spanish with English subtitles. New York Premiere)  Q&A with María José Cuevas   Buy Tickets   María José Cuevas’s engrossing and captivating debut feature, winner of the Best Documentary award at the Morelia Film Festival, is a moving portrait of five of Mexico’s most popular and iconic showgirls of the late 1970s and ’80s, almost 40 years after they ruled Mexico’s entertainment world. Eight years in the making, with a keen eye and devoid of any sensationalism, the documentary enters the fascinating world of these women, who have struggled to reinvent themselves after the decline of the burlesque heyday.   Friday, March 2, 7pm    

BEAUTIES OF THE NIGHT
(Bellas de noche, María José Cuevas, Mexico, 2016, 91 min. In Spanish with English subtitles. New York Premiere)
Q&A with María José Cuevas
Buy Tickets

María José Cuevas’s engrossing and captivating debut feature, winner of the Best Documentary award at the Morelia Film Festival, is a moving portrait of five of Mexico’s most popular and iconic showgirls of the late 1970s and ’80s, almost 40 years after they ruled Mexico’s entertainment world. Eight years in the making, with a keen eye and devoid of any sensationalism, the documentary enters the fascinating world of these women, who have struggled to reinvent themselves after the decline of the burlesque heyday.

Friday, March 2, 7pm

 

  THE LITTLE MATCH GIRL  ( La vendedora de fósforos , Alejo Moguillansky, Argentina, 2017, 71 min. In Spanish with English subtitles. U.S. Premiere)  Q&A with Alejo Moguillansky   Buy Tickets   Moguillansky’s follow-up to  The Gold Beetle  is a fantasia that elegantly weaves together disparate elements: Hans Christian Andersen's tale of the title, Bresson’s saintly abused donkey Balthazar, a Red Army Faction member’s correspondence with an Argentine pianist, and a composer trying to mount an opera at the Teatro Colón. Winner of Best Argentine Film at last year’s BAFICI,  The Little Match Girl  is infused with emotion, and never devolves into the obscure or didactic, despite its many literary and cinematic references. Featuring exquisite cinematography from Inés Duacastella, this spectacular work is not to be missed.   Friday, March 2, 9:15pm    

THE LITTLE MATCH GIRL
(La vendedora de fósforos, Alejo Moguillansky, Argentina, 2017, 71 min. In Spanish with English subtitles. U.S. Premiere)
Q&A with Alejo Moguillansky
Buy Tickets

Moguillansky’s follow-up to The Gold Beetle is a fantasia that elegantly weaves together disparate elements: Hans Christian Andersen's tale of the title, Bresson’s saintly abused donkey Balthazar, a Red Army Faction member’s correspondence with an Argentine pianist, and a composer trying to mount an opera at the Teatro Colón. Winner of Best Argentine Film at last year’s BAFICI, The Little Match Girl is infused with emotion, and never devolves into the obscure or didactic, despite its many literary and cinematic references. Featuring exquisite cinematography from Inés Duacastella, this spectacular work is not to be missed.

Friday, March 2, 9:15pm

 

  FUERA DE CAMPO  (Marcelo Guzmán and Mauricio Durán, Bolivia, 2017, 60 min. In Spanish, Aymara with English subtitles. U.S. Premiere)  Buy Tickets   On November 2, 1972, 67 Bolivian political prisoners executed a daring escape from a makeshift jail in the middle of Lake Titicaca during a soccer game; the prisoners then sought asylum in Peru. Their stand against the brutality of Hugo Banzer’s dictatorship was a watershed moment, but interviews with locals who were forced to assist the dissidents reveal the cruel and complicated legacy of this “heroic” tale. The directors of this film admit their inability (personal and creative) to fully deal with history and memory, relying on a series of narrative devices, sometimes controversial, but always cinematic, to tell the story.  Screening with  LAS NUBES  (Juan Pablo González, 2018, Mexico/USA, 20 min. In Spanish with English subtitles. New York premiere). Affected by violence and broken family relationships, a man goes on a journey through memory and time.   Saturday, March 3, 1:30pm    

FUERA DE CAMPO
(Marcelo Guzmán and Mauricio Durán, Bolivia, 2017, 60 min. In Spanish, Aymara with English subtitles. U.S. Premiere)
Buy Tickets

On November 2, 1972, 67 Bolivian political prisoners executed a daring escape from a makeshift jail in the middle of Lake Titicaca during a soccer game; the prisoners then sought asylum in Peru. Their stand against the brutality of Hugo Banzer’s dictatorship was a watershed moment, but interviews with locals who were forced to assist the dissidents reveal the cruel and complicated legacy of this “heroic” tale. The directors of this film admit their inability (personal and creative) to fully deal with history and memory, relying on a series of narrative devices, sometimes controversial, but always cinematic, to tell the story.

Screening with LAS NUBES
(Juan Pablo González, 2018, Mexico/USA, 20 min. In Spanish with English subtitles. New York premiere).
Affected by violence and broken family relationships, a man goes on a journey through memory and time.

Saturday, March 3, 1:30pm

 

  MARIANA  (Chris Gude, Colombia, 2017, 64 min. In Spanish with English subtitles. U.S. Premiere)  Q&A with Chris Gude   Buy Tickets   In this experimental road movie, director Chris Gude ( Mambo Cool ) follows two smugglers attempting to cross into Colombia from Venezuela. As the men drive across the sun-soaked terrain of the Guajira Peninsula, occasionally stopping off to wander or play pool in the lonely ruins of abandoned buildings, their journey comes to symbolize a search for an idealized land. Gesturing toward Colombia’s colonial legacy (such as when the pair listen to a Hugo Chávez radio broadcast about Simón Bolívar), this beautifully photographed film gives the viewer ample room to ponder questions of space and identity.  Screening with  THE MOUTH  ( La bouche , Camilo Restrepo, France, 2017, 19 min. In Susu with English subtitles. U.S. Premiere) Following his 2016 film  Cilaos , Colombian director Camilo Restrepo again experiments with the musical genre in a film that uses radical aesthetics as a means of standing up to social injustice.   Saturday, March 3, 3:30pm     

MARIANA
(Chris Gude, Colombia, 2017, 64 min. In Spanish with English subtitles. U.S. Premiere)
Q&A with Chris Gude
Buy Tickets

In this experimental road movie, director Chris Gude (Mambo Cool) follows two smugglers attempting to cross into Colombia from Venezuela. As the men drive across the sun-soaked terrain of the Guajira Peninsula, occasionally stopping off to wander or play pool in the lonely ruins of abandoned buildings, their journey comes to symbolize a search for an idealized land. Gesturing toward Colombia’s colonial legacy (such as when the pair listen to a Hugo Chávez radio broadcast about Simón Bolívar), this beautifully photographed film gives the viewer ample room to ponder questions of space and identity.

Screening with THE MOUTH
(La bouche, Camilo Restrepo, France, 2017, 19 min. In Susu with English subtitles. U.S. Premiere)
Following his 2016 film Cilaos, Colombian director Camilo Restrepo again experiments with the musical genre in a film that uses radical aesthetics as a means of standing up to social injustice.

Saturday, March 3, 3:30pm

 

  GABRIEL AND THE MOUNTAIN  ( Gabriel e a Montanha , Fellipe Barbosa, Brazil/France, 2017, 131 min. In Portuguese, English, and French with English subtitles. New York Premiere)  Q&A with Fellipe Barbosa   Buy Tickets   Winner of two prizes at Cannes’ Critics’ Week in 2017, Fellipe Barbosa’s follow-up to his acclaimed debut,  Casa Grande , follows Gabriel Buchmann (Joao Pedro Zappa) as he travels the world for one year before entering a prestigious American university. After ten months on the road, he arrives in Kenya determined to discover the African continent. Everything changes, however, when he reaches the top of Mount Mulanje, Malawi. The film is based on the true story of Barbosa’s friend from school.   Saturday, March 3, 6pm    

GABRIEL AND THE MOUNTAIN
(Gabriel e a Montanha, Fellipe Barbosa, Brazil/France, 2017, 131 min. In Portuguese, English, and French with English subtitles. New York Premiere)
Q&A with Fellipe Barbosa
Buy Tickets

Winner of two prizes at Cannes’ Critics’ Week in 2017, Fellipe Barbosa’s follow-up to his acclaimed debut, Casa Grande, follows Gabriel Buchmann (Joao Pedro Zappa) as he travels the world for one year before entering a prestigious American university. After ten months on the road, he arrives in Kenya determined to discover the African continent. Everything changes, however, when he reaches the top of Mount Mulanje, Malawi. The film is based on the true story of Barbosa’s friend from school.

Saturday, March 3, 6pm

 

  KING  ( Rey , Niles Atallah, France/Chile/The Netherlands/Germany/Italy/Qatar, 2017, 90 min. In Spanish and Mapuche with English subtitles. U.S. Premiere)  Q&A with Niles Atallah   Buy Tickets   Recipient of the Special Jury Prize at Rotterdam,  Rey  tells the curious story of Orélie-Antoine de Tounens, a French lawyer who attempted to create an independent state for the indigenous peoples of Araucanía (part of present-day Chile) and Patagonia (Argentina) in 1860 and claimed he was its king. Honoring the ambiguous nature of Tounens’s life—it’s unclear if he was a spy, a huckster, an above-average colonial exploiter, or actually summoned by a Mapuche deity— Rey  uses a variety of formal techniques and visual styles, including papier-mâché masks, battered 16mm stock, and educational film aesthetics.   Saturday, March 3, 9pm    

KING
(Rey, Niles Atallah, France/Chile/The Netherlands/Germany/Italy/Qatar, 2017, 90 min. In Spanish and Mapuche with English subtitles. U.S. Premiere)
Q&A with Niles Atallah
Buy Tickets

Recipient of the Special Jury Prize at Rotterdam, Rey tells the curious story of Orélie-Antoine de Tounens, a French lawyer who attempted to create an independent state for the indigenous peoples of Araucanía (part of present-day Chile) and Patagonia (Argentina) in 1860 and claimed he was its king. Honoring the ambiguous nature of Tounens’s life—it’s unclear if he was a spy, a huckster, an above-average colonial exploiter, or actually summoned by a Mapuche deity—Rey uses a variety of formal techniques and visual styles, including papier-mâché masks, battered 16mm stock, and educational film aesthetics.

Saturday, March 3, 9pm

 

  PIZZA, BEER, AND CIGARRETTES  ( Pizza, birra, faso , Bruno Stagnaro & Adrián Caetano, Argentina, 1998, 80 min. In Spanish with English subtitles. Restoration International Premiere)  20th Anniversary Screening—New restoration!   Buy Tickets   Bruno Stagnaro and Adrián Caetano’s milestone debut feature heralded the deeply influential New Argentine Cinema, fostered the careers of a vast generation of international filmmakers, and fueled the Latin American cinema renaissance of the past two decades. Rarely seen in the United States, Pizza, Beer, and Cigarettes is set in the Buenos Aires criminal underworld, and follows two impoverished teens who graduate from petty theft to armed robbery, though they’re incompetent at both. This restoration, by the Action Program to rescue the Argentine cinema, a joint initiative between CINAIN (Cinematheque and National Image Archive of Argentina) and the DAC (Argentine Cinematographic Directors), was carried out in 4K from the original negative in the framework of the Plan Recuperar DAC / Gótika, in Buenos Aires, Argentina, under the supervision of Bruno Stagnaro, Adrián Caetano and cinematographer Marcelo Lavintman.   Sunday, March 4, 2pm       

PIZZA, BEER, AND CIGARRETTES
(Pizza, birra, faso, Bruno Stagnaro & Adrián Caetano, Argentina, 1998, 80 min. In Spanish with English subtitles. Restoration International Premiere)
20th Anniversary Screening—New restoration!
Buy Tickets

Bruno Stagnaro and Adrián Caetano’s milestone debut feature heralded the deeply influential New Argentine Cinema, fostered the careers of a vast generation of international filmmakers, and fueled the Latin American cinema renaissance of the past two decades. Rarely seen in the United States, Pizza, Beer, and Cigarettes is set in the Buenos Aires criminal underworld, and follows two impoverished teens who graduate from petty theft to armed robbery, though they’re incompetent at both. This restoration, by the Action Program to rescue the Argentine cinema, a joint initiative between CINAIN (Cinematheque and National Image Archive of Argentina) and the DAC (Argentine Cinematographic Directors), was carried out in 4K from the original negative in the framework of the Plan Recuperar DAC / Gótika, in Buenos Aires, Argentina, under the supervision of Bruno Stagnaro, Adrián Caetano and cinematographer Marcelo Lavintman.

Sunday, March 4, 2pm

 

 

  LIGHTNING FALLS BEHIND  ( Atrás hay relámpagos , Julio Hernández Cordón, Costa Rica/Mexico, 2017, 82 min. In Spanish with English subtitles. New York Premiere)  Q&A with actress/producer Adriana Álvarez   Buy Tickets   The sixth film by Mexican-Guatemalan filmmaker Julio Hernández Cordón ( I Promise You Anarchy , ND/NF 2016), and his first shot in Costa Rica, is a rakish slacker movie that follows rebellious girls Sole (Adriana Alvarez) and Ana (Natalia Arias). While biking around San José, and planning to create a vintage cab company, they find something inside the trunk of a car that they’d rather forget.  Lightning Falls Behind , featuring playful and fluid camerawork, is a prime example of the kind of recent Central American cinema that has delighted viewers on the international film circuit.     Sunday, March 4, 4pm    

LIGHTNING FALLS BEHIND
(Atrás hay relámpagos, Julio Hernández Cordón, Costa Rica/Mexico, 2017, 82 min. In Spanish with English subtitles. New York Premiere)
Q&A with actress/producer Adriana Álvarez
Buy Tickets

The sixth film by Mexican-Guatemalan filmmaker Julio Hernández Cordón (I Promise You Anarchy, ND/NF 2016), and his first shot in Costa Rica, is a rakish slacker movie that follows rebellious girls Sole (Adriana Alvarez) and Ana (Natalia Arias). While biking around San José, and planning to create a vintage cab company, they find something inside the trunk of a car that they’d rather forget. Lightning Falls Behind, featuring playful and fluid camerawork, is a prime example of the kind of recent Central American cinema that has delighted viewers on the international film circuit.  

Sunday, March 4, 4pm

 

  RUINS, YOUR REALM  ( Ruinas tu reino , Pablo Escoto, Mexico, 2016, 64 min. In Spanish with English subtitles. U.S. Premiere)  Buy Tickets   This lyrical and immersive documentary, reminiscent of films by Peter Hutton and Kazuhiro Soda, follows the rhythms of Mexican fishermen in extreme, minute detail. Fish are glimpsed underneath the water and gasping on the deck of a ship; men hoist their nets and sails. Interspersed with these quotidian images are snippets of text and poetry, juxtaposed against a black background.  Screening with  AMUNDSEN'S DOGS  ( Los perros de Amundsen , Rafael Ramírez, Cuba 2017, 27 min. In Spanish and English with English subtitles) Rafael Ramírez connects the avant-garde and the political in this intertwining of fiction and documentary that tells the story of an industrial accidents inspector.   Sunday, March 4, 6:30pm    

RUINS, YOUR REALM
(Ruinas tu reino, Pablo Escoto, Mexico, 2016, 64 min. In Spanish with English subtitles. U.S. Premiere)
Buy Tickets

This lyrical and immersive documentary, reminiscent of films by Peter Hutton and Kazuhiro Soda, follows the rhythms of Mexican fishermen in extreme, minute detail. Fish are glimpsed underneath the water and gasping on the deck of a ship; men hoist their nets and sails. Interspersed with these quotidian images are snippets of text and poetry, juxtaposed against a black background.

Screening with AMUNDSEN'S DOGS
(Los perros de Amundsen, Rafael Ramírez, Cuba 2017, 27 min. In Spanish and English with English subtitles)
Rafael Ramírez connects the avant-garde and the political in this intertwining of fiction and documentary that tells the story of an industrial accidents inspector.

Sunday, March 4, 6:30pm

 

  THE THEATER OF DISAPPEARANCE  ( El teatro de la desaparición , Adrián Villar Rojas, Argentina/South Korea, 2017, 120 min. U.S. Premiere)  Buy Tickets   Sharing the same title as his 2017 installation from the Metropolitan Museum of Art’s rooftop, acclaimed Argentine visual artist Adrián Villar Rojas's  The Theater of Disappearance  is a hypnotic triptych portraying the current state of latent war on different continents. Using disparate styles and sensual, sometimes randomly connected imagery, Villar Rojas searches for beauty through a wordless portrait of a Moroccan pottery workshop, an almost surreal study of the demilitarized zone between North and South Korea, and a camera tour of different locations around the world.   Sunday, March 4, 8:30pm    

THE THEATER OF DISAPPEARANCE
(El teatro de la desaparición, Adrián Villar Rojas, Argentina/South Korea, 2017, 120 min. U.S. Premiere)
Buy Tickets

Sharing the same title as his 2017 installation from the Metropolitan Museum of Art’s rooftop, acclaimed Argentine visual artist Adrián Villar Rojas's The Theater of Disappearance is a hypnotic triptych portraying the current state of latent war on different continents. Using disparate styles and sensual, sometimes randomly connected imagery, Villar Rojas searches for beauty through a wordless portrait of a Moroccan pottery workshop, an almost surreal study of the demilitarized zone between North and South Korea, and a camera tour of different locations around the world.

Sunday, March 4, 8:30pm