Andrés Agustí

At the geographic center of Caracas stands a mirror-covered tower. It stands out in contrast to other buildings and the lifestyles of its inhabitants. Due to its size, it is visible from almost any point in the city; it is an architectural object that suggests a way of life and can be interpreted in multiple ways. Its panoramic view is schizophrenic; this is not the fault of the tower. The city, in its different times and spaces, is a bit like the people who build it.

It records the tour of the legendary Mexican guitarist Carlos Santana in Latin America.

In the small town square of the small Andean city of Merida, Venezuela, there is a singular combat between space and time, from which the only way out is by having written a mythical pact between the synchronic and the diachronic; ethnographic cinema knows these contradictions very well, between good form and good content, between seeing and saying, which transforms the qualitative of a gaze into a necessarily quantitative measure. This film is about a square, but it is also about the problems involved in describing spaces that have become sites.

It tells the story of an architect named Fructo Vivas, a communist who builds a church. It tells the irony of a boy who had no toys but as a profession, builds houses for people with money.

At the geographic center of Caracas stands a mirror-covered tower. It stands out in contrast to other buildings and the lifestyles of its inhabitants. Due to its size, it is visible from almost any point in the city; it is an architectural object that suggests a way of life and can be interpreted in multiple ways. Its panoramic view is schizophrenic; this is not the fault of the tower. The city, in its different times and spaces, is a bit like the people who build it.

At the geographic center of Caracas stands a mirror-covered tower. It stands out in contrast to other buildings and the lifestyles of its inhabitants. Due to its size, it is visible from almost any point in the city; it is an architectural object that suggests a way of life and can be interpreted in multiple ways. Its panoramic view is schizophrenic; this is not the fault of the tower. The city, in its different times and spaces, is a bit like the people who build it.

It records the tour of the legendary Mexican guitarist Carlos Santana in Latin America.

In the small town square of the small Andean city of Merida, Venezuela, there is a singular combat between space and time, from which the only way out is by having written a mythical pact between the synchronic and the diachronic; ethnographic cinema knows these contradictions very well, between good form and good content, between seeing and saying, which transforms the qualitative of a gaze into a necessarily quantitative measure. This film is about a square, but it is also about the problems involved in describing spaces that have become sites.

It tells the story of an architect named Fructo Vivas, a communist who builds a church. It tells the irony of a boy who had no toys but as a profession, builds houses for people with money.