Dialoguing directly with the trilogy of documentaries “Images of the Unconscious”, made between 1983 and 1986 and based on clinical cases and therapies with a humanist approach and artistic expression, conducted by the pioneering psychiatrist Nise da Silveira (1905-1999) – screenwriter of that film –, here is presented, in two parts, an interview with the doctor, a student of Carl Jung and a pioneer in the application of non-violent treatments for psychiatric patients, given to director Leon Hirszman, in 1986. The conversation is divided in two parts: the first, "The emotion of dealing", the second, "The egress".

Images of 1930s Stockholm.

This film moves mostly in the surroundings around the Royal Palace and Strandvägen. The environments are strangely similar compared to how it looks today. The camera is initially placed on Lejonbacken by the castle. It pans to the right over the distinguished Hotell Rydberg and the Royal Opera House. The strolls along Strandvägen are many and the cars few. People stop and contemplate the strange novelty that a man with a movie camera still is. Strömkajen's white archipelago boats in front of the Grand Hotel stand in stark contrast to the toil of the coal carriers at the barges along Strandvägen.

Bilja was seriously wounded in the 1992 shelling of Sarajevo. A French photographer took pictures of her while she lay bleeding and desperately begging for help; pictures of Bilja's wounds made him famous. Zbanic searches for Bilja and reconstructs the moment when news became more important than her life.

One of the most unknown uprisings in our history, "El motín del pan", was led by women in the city of Córdoba during the month of May 1652. We do not know the faces or names of those women. There is no image. How to recover the gestures of resistance of those we have not been able to see?

16mm film by Bojan Jovanović.

Ridden by guilt for not being able to have a child, wife decides to conceive by cloning. The daughter she gives birth to is therefor almost identical to her. The child starts to grow rapidly and slowly replaces mom in the household.

Somewhere in Yugoslavia, during the Cold War, on the eve of the nuclear threat, when the children fell asleep, the elders began their games in the "crazy sixties" ...

The first images of the new capital of Brazil, Brasília!

"Imagens de uma cidade perdida" is a portrait of an old area of Lisbon, primarily the Alfama, but also other central areas - Castelo São Jorge, Graça, Bairro Alto, and elsewhere. It was shot in 1997-98, over the span of more than a year. Like those places, its pace is languid and it wears the sense of "saudade" which defines Lisboa and Portugal.

Views of Vigo, Baiona and the river filmed by an affected dancer arriving in Vigo on a cruceiro. These images form part of a larger film that collects a touristic tour of Europe. Film recovered by Filmoteca de Catalunya and Det Danske Filmmuseum, was restored by CGAI in 1995.

Sunday afternoon. Images of last summer. A view of the sunset from a hill. Some flashes.

F*** Off! shows no false respect towards the authorities in its impudent and candid reportage of the developing country/welfare state Finland. It is a cinematic parallel to Donner's New Book of Our Land (1967). The travelogue focuses especially on Finland's outsiders, low-paid workers and the unemployed. In desolate provinces, the inhabitants of a cold and barren country either humbly abide their fate, choose to move to Sweden or take refuge in excessive drinking. These images are accompanied by protest songs based on Donner's own prose and the lyrics of poet Jarkko Laine. Perkele is embodied in big business and the political elite.The jagged (anti)aesthetics of the film correspond to the underground movement and the radical politics of the time. The camera agilely penetrates everyday life. Though opposed to censorship, Fuck Off! itself transgresses the boundaries of privacy.

Shannon Whirry stars as Carrie and Terrie, a pair of twins who were separated in youth when their father murdered their mother and was in turn killed by his own bad twin daughter. Now the sweet-natured "good" sister has grown up to marry an abusive louse. Trapped in a sexless relationship, she seeks solace with a therapist (Kristine Kelly), but her problems are about to be compounded when her wicked sister arrives in town, intent on avenging herself on her double for past wrongs. Even the help of a private detective on her side may not be enough when her sister becomes allied with her own husband.

When her steamy Ph.D. thesis becomes a best-selling movie property, Julie Todd discovers that Hollywood wants more than just her book. She herself is a “hot property,” sought by both the director of the film and the arrogant young rock musician who’s playing the lead role. But while Julie speeds through life in the fast lane, her marriage may be running into a dead end.

In Le Livre d’Image, Jean-Luc Godard recycles existing images (films, documentaries, paintings, television archives, etc.), quotes excerpts from books, uses fragments of music. The driving force is poetic rhyme, the association or opposition of ideas, the aesthetic spark through editing, the keystone. The author performs the work of a sculptor. The hand, for this, is essential. He praises it at the start. “There are the five fingers. The five senses. The five parts of the world (…). The true condition of man is to think with his hands. Jean-Luc Godard composes a dazzling syncopation of sequences, the surge of which evokes the violence of the flows of our contemporary screens, taken to a level of incandescence rarely achieved. Crowned at Cannes, the last Godard is a shock film, with twilight beauty.

Resorting on a vast archive material of newsreels, photographs, letters, family videos, fiction movies, diary and popular songs excerpts, the documentary reassesses the legacy of the dictatorial period of Getúlio Vargas (1937-1945). Through the comparison and analysis of these heterogeneous records, produced for different purposes, from political propaganda to family celebration, the film explores the several layers of the political web of the Estado Novo, exposing its external inspirational sources, functionality and contradictions.

After the invention of photography, the development of film devices, catalyzed by Muybridge's The Horse in Motion, led to the birth of film in 1888 with Le Prince's device in the Roundhay Garden Scene. This work explores illusions, continuity and spacetime in between, attempting an audiovisual experiment to connect images of death with the "First Scene."

A black-and-white travel journal, in which the themes of memories and their relationship to the past suddenly catch up and rush away from us. The film is based on a series of portraits of American artists, all of whom belong to a young and politicized generation, presented in static tableaus from their studios, films and home environments.

This exhibition presents projects of relevance to contemporary Chilean architecture such as the reconstruction of the Pereira Palace in the center of Santiago and buildings that inhabit nature, located in the Atacama Desert and Torres del Paine, through the lens of 15 photographers Chileans and foreigners. The photographs in Winter: Images of Contemporary Chilean Architecture portray the construction and restoration processes of the architectural works presented. In parallel, these photographic images are accompanied by small screens whose content is audiovisual fragments, with records of the architectural processes. These films seek to contribute to understanding each of the architectural works even more.