Installations
- Editing as research tool, performing invisibility or the ability to reveal
Diana Toucedo [KK]
High-seas fishing is an opaque and difficult-to-access industry. In 2017, I embarked on a fishing vessel in Patagonia, Argentina, where my father was working at that moment. The harsh working conditions over months and the total isolation in the open ocean, create a unique and unfamiliar temporal space.
My current work on the filmed material uses editing as a research tool to explore contradiction, the ability to reveal, and the displacement of the ideas this material holds in potential. Through a sensory aesthetic that seeks to reconfigure the visible and the invisible, the real and the fictional, I raise the question of the relational value of montage in achieving a performative dialectic of images.
How do the bodies of the workers arrange themselves in the confined space of a ship to become more than mere machines? How do they think, express themselves, and become visible within this industrial structure? How can montage allow them to inscribe or weave themselves into their own history, as political bodies with full capacity to appear or be revealed? How can performative montage challenge the world it sets in motion and even question the perceptual systems of representational logics? How can it reveal a new reality as a possibility for resistance? And how can the imaginary force be preserved through montage?
Drawing from the premises of contradiction, disruption, and the body in the works of Jacques Rancière, Judith Butler, and Silvia Federici, I propose a possible installation outcome to share my visual, sonic, and theoretical research with participants and gather feedback.
Bio:
Diana Toucedo, filmmaker and editor, is at the crossroads between cinema and research. Her work has been selected for film festivals such as the Berlinale, San Sebati:an International Film Festival, Visions du reél, Nara International Film Fes:val, Sao Paulo Interna:onal Film Festival, FIDBA, Pesaro or DocLisboa, among others. Diana has edited more than 28 feature films to date, premiering and winning awards at IDFA, IFFR, Cannes Semaine de la Critique, Moscow International FF, etc. She has also worked editing series for Netflix, HBO and Movistar.
Diana currently combines her profession with teaching at the Pompeu Fabra University (UPF) and is part of the core-team of the Master of Film at the Netherlands Film Academy. She is also pursuing a PhD in Practice based Communication, exploring how moving images address identities, memories, historical crystallizations and social tensions.
- Sunrise
Jamy Guda [GS]
Reveal the light - an experiment. Examining the audience's role as collective creator.
- Intuitive filmmaking, where the hell do you start?
Lionelisa Gerding [GS]
At our school, we are taught a highly structured approach to filmmaking. It's plotdriven, and every detail needs to be well planned. With my research I explore more intuitive approaches to the filmmaking process, aiming to balance causal and emotional logic while still effectively telling a story. I've conducted various practical experiments, ranging from an associative interview with an actress to improvisation exercises based on her answers. Each experiment represented a step towards the final outcome: a fully realized scene.
Bio:
I am Lionelisa Gerding and Iʼm a 4th year screenwriting student. In my writing I love to experiment with genre conventions and unconventional protagonists – the kind of types whose actions may be highly questionable, but thatʼs exactly why you donʼt want to look away. Aside from my Greenhouse research, Iʼm co-writing a graduation film that explores the world of voluntary sex-work, and I work as dramaturgical advisor on a documentary about a survivalist group in Sweden. In the future I hope to write and direct my own films, and explore other artistic mediums with which I can convey a story, such as visual arts and theatre.
- Our village
Maarten van Huissteden [GS]
From research to making and from making to research. In my Greenhouse project, I am trying to learn the craft of autonomous filmmaking in a flexible way. And I want to do that in the form of short documentary about the fishing village of Egmond aan Zee - a place where everyone knows everyone and where you are only accepted if you were born there..
Bio:
Maarten is a fifth year Sound Design student
- Yet The Memory Remains
Maarten de Schutter [GS]
In March 2023 I started archiving my mother's life - I wanted to investigate the meaning of memories, the ways in which they operate and destroy. This archiving process – it’s been over ten years now since my mother died - has been too complex and too confusing to be able to share any meaningful insights. However, I will share the different shapes and textures a memory can have, as well as the methods I've (unsuccesfully) tried to gather truth from memory. Filmmaking can't bring back the dead, even if you meticulously follow the ecology of memory in your methods. The best it can do is taxonomize. I'm not sure.
Bio
Maarten de Schutter (02-02-1999) graduated from the Film Acadamy in 2024, studying Directing Documentary. He loves leftist cinema and is half Iranian. The films he cares about are intuitive and imperfect. At the moment Maarten is working on the project My Sweet Child, a visualization of the memories of his mother, AIDS-activist and feminist anthropologist Martine de Schutter (1965-2014).