Signs of Love

Inside Asda: Bigger, Better, Cheaper?

The supermarket giant that rose high by taking prices low.

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How can we visualize Body Ownership? We connected Body Ownership with an I-perspective, looking for images that uncover the multiplicity of the ‘I’ First person plural. Strapping two body cameras (GoPros) to our chests, we move in direct body contact. Our premise is that both I-perspectives of the cameras are at interplay with each other, showing that gaze is never produced by a singular entity. Instead, it is the result of bodies touching and reacting constantly to each other. The body cameras are joined by an external camera – a third-person perspective. While it may hold a position of power as the one who frames the image from the outside, it desires to dive into the collective I-perspective. BE-LONGING. At one point the gazes of the I-perspectives and the outside camera meet – they look at each other looking. Gazes conjoined with bodies. Body is spatiosocially bound, is situated.

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Single-channel video installation commissioned by Public Art Development Trust, London.

Nullarbor

An animated road-movie set across the vast and barren landscape of Australia's Nullarbor Plain.

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Photographs by my father Giacomo Mazzola and a video depicting Sironi’s painting Mountains: a gesture of remembrance in three chapters.

King Lily of the Valley

Spring is in the air and Puck and Einar, as well as Christer Wijk are invited to a wedding in Skoga. The day before the wedding, the bride-to-be enters a flower-shop in order to inspect her bridal bouquet of lily of the valley, but suddenly vanishes without at trace. When she eventually turns up again, it is Christer who finds her. She lies dead outside her home with a bouquet of lily of the valley in her hand. Everybody close to the bride are suspects, not least her best friend, whom Christer has just begun flirting with. Everybody seems to have something to hide. Question is: are their secrets connected to the murder?

EVA KALIAN LA PELÍCULA 2 ¿QUÉ TE PASÓ EVA?

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A young alcoholic ambient musician locks himself in his apartment on a dangerous seven day bender as he attempts to finish his upcoming album.

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A hitman is tasked to take out ex-mobsters when he suddenly hears a voice that questions his morality.

Bucking Broncho

Lee Martin, one of the cowboy stars in 'Buffalo Bill's Wild West', rides a bronco as a crowd looks on. While the horse is trying to throw Martin off its back, another cowboy stands on top of a fence rail and occasionally fires his six-shooter, to spur on both horse and rider.

Double Feature

Director José Luis Garci has turned his camera inward on filmmakers and screenwriters to portray them as so self-absorbed in the creative process that there is no other world, no other human relationship that can compete. As José (Adolfo Marsillach) and Federico (Jesus Puente) work together on a new screenplay, their interactions with their family (José's teen daughters, Federico's wife) disappear under the all-consuming task of creation. The daughters give up and go off on their own, and the wife joins a convent while Federico barely notices. And when the producer is interrupted by profound grief at the sudden death of his older son, he almost automatically returns to thinking about the film project when the funeral has ended. Garci honors many great directors at the beginning of this film, and the film continues to play out as an elaboration on this homage -- an illustration both of the dedication and the cost of filmmaking, no judgments given.