This session, a look at Japanese avant-garde cinema of the seventies and eighties, brings together the work of the leading figures of that movement with that of practically invisible artists. The playful cinema of illusion of these three generations of directors combines the representation of landscape with a minimalist analysis of the cinematographic device.

Dirty, playful, bawdy, freaky, raunchy, sexy, brilliant, campy, punky, puerile, gross, glamorous…there are not enough evocative adjectives to accurately encompass the innumerable pleasures of Curt McDowell’s resolutely queer and radically multi-sexual body of film work in all its florid fecundity.

Following the recent publication of her essay Los pasadizos secretos [Secret passages] for the CCCB’s Breus collection, filmmaker and programmer Elena Duque presents a programme of experimental animation featuring iconic works of different styles, periods and origins that give an idea of ​​the richness of the genre.

This session focuses exclusively on twenty films by the San Francisco filmmaker Michael Rudnick. His work, practically unseen in Europe, combines visual art in movement, kinetic sculpture and trompe l'oeil. With their small, enigmatic but audacious gestures, both tender and festive, his films return to the infancy of art.