Psycho (1960) by Alfred Hitchcock and Psycho (1998) by Gus Van Sant collide in a frame-by-frame editing that assaults the eyeballs and assassinates the normative consciousness of the viewer. The footage seems to penetrate us, as though it was a knife or a threatening phantasmagorical entity. The fast succession of single frames and extremely short audio files produce afterimages and aftersounds — entoptic and endaural phenomena — creating a film that does not happen on the screen, but in your brain cells.

biografia

Filmmaker and noisemaker also known by her alias _blank. She studied filmmaking, animation, and digital art. Nowadays, her main focus is the relationship between image and sound, with influences of both experimental film and electronic music. Her work has been screened in many art centres and festivals, including The Exploratorium (San Francisco), the ZKM (Karlsruhe), the Barbican Centre (London,) and the Reina Sofía Museum (Madrid). She also works as a writer and translator for cultural journals and organizations. She has curated film screenings for international festivals like Curtocircuíto, and also gives lectures on experimental cinema and media art.

back