Paul Dickson

The tram system of Glasgow and the last weekend of the service.

A ritual of grids, reflections and chasms; a complete state of entropy; a space that devours itself; a vertigo that destroys the gravity of the Earth; a trap that captures us inside the voids of the screen of light: «That blank arena wherein converge at once the hundred spaces» (Hollis Frampton).

The history and myth of a ghost island off the SW African coast are told through a dystopian parable, in which a character undergoes brainwashing to escape the burden of memory in a world he no longer relates to.

A hearse cruises the streets of Medellín, while a young director tells his story in this city marked by conflicts, violence and paradoxes. He remembers his childhood and the discovery of his sexuality.

Sunny. Semantic sequences guide the gaze, a gaze that is sometimes raised, propelled downwards, then too high or motionless in front of an unrecognizable and yet so familiar vision. The images, linked by echoes of chromatic palettes and linear layers, scroll to the rhythm of a voice, reminiscent of an incantation. Sacred.

This is an installation documentary created in 2015. The quiet process of making boxes indoors reflects the author's patience and caution, the narration when the screen is black reflects the author's familiarity and confidence in what he wants to express, and the dodging perspective and trembling picture when facing the crowd outdoors reflect the photographer's cramped and alienated. A lot of things happened after 2015, and the film was re-edited. The current version has almost used the best materials of that year.

A dialogue and home video about belonging, from young people living in modern colonial society.

What are they? What do they seek? When all the lights go out, they will wander. And you will never see them.