Mov en Mov Awards 2020

International Screendance Festival Movimiento en Movimiento #9

“Body Identity”

We announce and congratulate the winners of our 3 awards in this edition:

+National Screendance Award Mov en Mov, 2020.

+International Screendance Award Mov en Mov, 2020.

+MOV EN MOV-REDIV Award.

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National Screendance Award Mov en Mov, 2020.

In this award, only the first place obtains an incentive of 16,000 Mexican Pesos to support their creative work. The second and third places are nominative.

Mov en Mov award jury are: Alessandra Pisu (Italy), Regina Levy (Brazil) and Elise Schonhowd (Norway) and, in a single vote, the curators of Mov en Mov. Find more information about the jury here.

WINNERS AND JURY COMMENTS

First place: El caleidoscopio del eterno ahora, Laura Luna Castillo. México. 6’49’’

We found that this film really manages to do what it sets out to do. The description fits the film perfectly and there is little to add. It leaves you with an intimate sense of both: that it belongs to the eternal, and also, it belongs to the everyday. This short film gains weight in light of the current Corona pandemic. In addition to the technical issues of the use of imaging tools that give the idea of the 3rd dimension, it also resembles a kind of cell to be repeated endlessly, as a galaxy full of thousands of stars, where each star is a house with a family of simple and everyday habits inside. It is a philosophical reflection articulated with audiovisual and choreographic tools.

Second place: Híbrida at Zoom, Ana Patricia Farfán Briseño. México. 13’11’’

The high and low technology used in this film is very suitable for the situation in which the collaboration, that we see in Híbrida at Zoom, takes place. Being ZOOM a new and impressive platform, and in opposition, they use the everyday mobile phone to create a film, being mobile the “low” used technology in this case.

The conversation, the considerations, the everyday, while striving to create a visual form of experience, are fresh, unpretentious, and to the point. At the same time, a well of possibilities goes opening up within the constraints they find themselves in.

Looking at everything as material to express both the known and the unknown generates a large number of relevant reflections and references.

The game that opens with an idea as simple as the union of the two screens, in a process of searching for possible expressions, is both open-ended and yet very at hand, very focused on what is possible. It provokes curiosity for seeing the final product, and, leaving the final product to the imagination is a success of the film.

Third place: Coreografías de la información II, Carmen Ixchel Maya. México. 5’51’’

We find Coreografías de la información II to be at the starting point of a very important subject. We appreciate its urgent and timely approach, in order to begin formulating the visual possibilities associated with the topic of mechanical and thoughtless participation in social networks, as well as the possible violence generated within them… We appreciate its roughness and the spontaneity that come from the networking medium itself. Speed editing is a relevant chosen language for the subject of the film.

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International Screendance Award Mov en Mov, 2020.

In this award, the first place gets an incentive of 500USD to support their creative work. The second and third places are nominative.

Mov en Mov award jury are: Alessandra Pisu (Italy), Regina Levy (Brazil) and Elise Schonhowd (Norway) and, in a single vote, the curators of Mov en Mov. Find more information about the jury here.

WINNERS AND JURY COMMENTS

First place: – Recepción Lunar, Jorge Alcolea. Ecuador-Cuba. 15’56’’

This film is a true feast for the eyes, for the known, for the current uncertainty of life, for the strangeness of the everyday, for the depth of the unexpressed inner life. It works on so many levels, both intellectually and emotionally. And if we see it, it continues to unfold and show many more layers in various contexts. It manages to provoke relevant reflections and ask new questions.

It has many technical successful features that are used from home, with the tools found around home, such as music with utensils and household objects, characterizing the closed household characters through the gestures of dance. Editing games like stop motion, and, it manages to have a well-planned and coherent script from beginning to end. However, various experiments are also used in terms of the camera, dance, situations and spaces. It is about creating with the minimum and taking the tools to the widest possible spectrum. The choreography and execution is clean and clear.

Second place: La Herencia Invisible, Martina Faux Marambio. Argentina. 8’04’’

High-quality dance film with a script related to the story LA CASA TOMADA by Julio Cortazar. We reward the relationship with literature, the experimentation of the body within a fairly structured script, the perspective of change of views regarding the story: male performer as the main character in the written story, and in the film dance piece, female performer as main character. We appreciate the social issues related to the film, because there is a revolt in the street outside the film home, remembering EVA PERÓN epoch, her speech is heard, and thus the social and political relationship are crossed with the dance and cinematographic very successfully used tools.

Third place: Lazarus, Tuixén Benet. España. 8’34’’

Lazarus makes possible a mental change of perspective: how to see the woman, is she forced to be eternally beautiful, or can she be human too? It raises an important topic for reflection in the present days, since this world is probably facing now the limits of its own history. The dancer has great mastery of her body and, through experimentation, the creator achieves good coincidences of fortunate places and situations that manage to raise a matter of female loneliness, and female urge to relate her life and death to herself and not only to the external sights. It is based on a poem by Edgar Alan Poe, but somehow, subtly and gracefully, it refutes the poem.

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MOV EN MOV-REDIV Award.

This award is given in complicity with Red Iberoamericana de Videodanza (REDIV). It is awarded equally to three films by Ibero-American creators, in three categories. The jury and active women-members of REDIV are: Regina Levy (Brazil) y María Fernanda Vallejos (Argentina) y Yolanda M. Guadarrama (Mexico). Find more information about the jury here.

The winners will get the book-catalog “Merce Cunningham: the elemental, the unpredictable, the unexpected” that includes texts by members of REDIV on the choreographic and film-choreographic work of Cunningham. And the possibility of showing the pieces at the 25 REDIV member festivals and on REDIV YouTube channel.

GANADORES

CATEGORY: Corporeal, abstract, animated, metaphorical translations.

– El caleidoscopio del eterno ahora, Laura Luna Castillo. México. 6’49’’