Elena Pardo

No synopsis available yet.

No synopsis available yet.

The game is filmed from above in a single take, emphasizing the inexorable process of subtraction. Six children place five chairs in a row, facing in alternate directions. When the music starts, the players skip one behind the other around the chairs. When the music stops, everyone scrambles to occupy the nearest chair and one person is left standing. The loser carries a chair away, stomping out of shot to the left. The music starts again, and so it goes on until the winner claims the last chair. Then there is only an empty space.

Desaparecer / Disappear: to stop being in sight or in a place, cease to exist. In Mexico one person disappears every 1 hour and 50 minutes, that is, 13 people a day. Through the use of landscape and self portrait, we explore the ephemeral quality of image and physical presence. Codirection: Manuel Trujillo Production format: 16m (Text from Canyon Cinema)

A 16mm film performance draws inspiration from the Nanacatepec, a rock traversed by a network that extends without a defined shape. Its fruits, in the form of mushrooms, serve as creators and transformers of everything in the world.

A piñata is a papier-mâché figure stuffed with sweets. Common at birthdays in urban patios, here we find it in a field, where a garish Superman dangles between tall poles on a rope jerked by an adult, to make hitting harder. Each player is blindfolded and spun around several times before attempting to hit the piñata with a long stick. The kids’ wild swinging is directed by the shouts of friends, while the allotted time of each turn is counted down in a singsong about finding and losing one’s way. Fierce blows are dealt with varying accuracy until the piñata is fully smashed open and its sweets shower to the ground, leaped on by all the kids at once. The hollow, punctured figure is triumphantly dismembered.

No synopsis available yet.

No synopsis available yet.

No synopsis available yet.

The game is filmed from above in a single take, emphasizing the inexorable process of subtraction. Six children place five chairs in a row, facing in alternate directions. When the music starts, the players skip one behind the other around the chairs. When the music stops, everyone scrambles to occupy the nearest chair and one person is left standing. The loser carries a chair away, stomping out of shot to the left. The music starts again, and so it goes on until the winner claims the last chair. Then there is only an empty space.

Desaparecer / Disappear: to stop being in sight or in a place, cease to exist. In Mexico one person disappears every 1 hour and 50 minutes, that is, 13 people a day. Through the use of landscape and self portrait, we explore the ephemeral quality of image and physical presence. Codirection: Manuel Trujillo Production format: 16m (Text from Canyon Cinema)

A 16mm film performance draws inspiration from the Nanacatepec, a rock traversed by a network that extends without a defined shape. Its fruits, in the form of mushrooms, serve as creators and transformers of everything in the world.

A piñata is a papier-mâché figure stuffed with sweets. Common at birthdays in urban patios, here we find it in a field, where a garish Superman dangles between tall poles on a rope jerked by an adult, to make hitting harder. Each player is blindfolded and spun around several times before attempting to hit the piñata with a long stick. The kids’ wild swinging is directed by the shouts of friends, while the allotted time of each turn is counted down in a singsong about finding and losing one’s way. Fierce blows are dealt with varying accuracy until the piñata is fully smashed open and its sweets shower to the ground, leaped on by all the kids at once. The hollow, punctured figure is triumphantly dismembered.

The historical Estudios Churubusco lab, where golden era Mexican films were processed in the 1950s, is still open, pretty much untouched. This film is a desperate and loving attempt to keep memory of the people, knowledge and objects that coexist in this space, that risks closing at any time. Lab workers participated in the shoot as animators, actors and technical advisors.

Pulsos Subterráneos is a subjective recording in 16 mm of the experiences of defense and resistance in the territory, culture and life of two communities in Mexico: Vetagrande in Zacatecas and Capulalpam in Oaxaca, facing the mining business.

Portrait of an old Mexico City neighborhood in the verge of gentrification.

From the communal future, a woman recalls the words of her ancestors, women warriors who gathered to record their words about community service. At the same time she questions her own future: Will we ever stop fighting? Does anyone care what we say?

From the communal future, a woman recalls the words of her ancestors, women warriors who gathered to record their words about community service. At the same time she questions her own future: Will we ever stop fighting? Does anyone care what we say?

2004 Mexican experimental short

Mexico 1968.

No synopsis available yet.

The concept of memory and image are mixed in this piece to reveal the continuity in the justifications that the Mexican Government issues to perpetuate violence.

In Santa María Tlahuitoltepec, Oaxaca, the women's organization Poj Kaa maintains a community herbarium. Foraging for plants is a way to share knowledge with grandmothers, midwives, healers and shamans. In Teotitlán del Valle the Ruiz family makes their own journey in search of colors, which they find inside plants and insects that are used to dye the wool with which they weave rugs. Both practices involve exploring the territory, recognizing it, naming it and relating to everything in it.

Portrait of a Mexico City neighborhood where pages and pages are printed, and little by little, words appear. Máquinas de Palabras is a performance created in March 2023 in Mexico City, and is the result of a collaboration between Labo K (Rennes-based film laboratory) and LEC (Laboratorio de Cine Experimental) in Mexico City. A portrait of a Mexico City neighborhood where pages and pages are printed. And little by little, words appear... "From the deliberate use of found images to films that make uncompromising use of raw material, the camera and the plants will take our eyes... Pupils will certainly be illuminated by the projector... How can moving images stay in our heads?"

In the film Tierra the artist’s hands manipulate the organicity of the raw materials. The colors and textures are closely portrayed in 16mm by Elena Pardo and summarizes the long process of the realization of the mural Tu cuerpo selva in Oaxaca, Mexico in a few frames.

No synopsis available yet.