Colectivo Los Ingrávidos (Tehuacán, Mexico) arises from the need to dismantle the audiovisual grammar that the aesthetic-television-cinematic corporatism has used and uses to effectively guarantee the diffusion of an audiovisual ideology by means of which a continuous social and perceptive control is maintained over the majority of the population. Politically charged yet involved with the sublime Los Ingrávidos inhabit poetic realms that few dare to tread.
Cristina Álvarez López is a film critic, audiovisual essayist, and teacher at the EQZE Film School (Spain). She was co-founder of the Spanish online film journal Transit: Cine y otros desvíos, and has written for Sight and Sound, MUBI Notebook, Shangri-la, LOLA, Screening the Past, and Screen Education, and in books on Chantal Akerman, Bong Joon-ho, Philippe Garrel and Paul Schrader.
Donato Totaro has been the editor of the online film journal Offscreen since its inception in 1997. Totaro received his PhD in Film & Television from the University of Warwick (UK), is a part-time professor in Film Studies at Concordia University (Montreal, Canada) and a longstanding member of AQCC (Association québécoise des critiques de cinéma).
Doriane Biot is head of exhibitions at the Cinémathèque québécoise. After studying visual arts and animation (School of graphic research), then visual culture (University of Aberdeen), she obtained a master’s degree in museum studies from the University of Montreal. She has published essays on cinema in the magazines Blink Blank, 24 images, Hors Champ and contributed to the collective work XPQ: Traversée du cinéma experimental au Québec (2020).
Elaine Lennon is a film historian and the author of “ChinaTowne: The Screenplays of Robert Towne 1960-2000” (2016) and “Pathways of Desire: Emotional Architecture in the Films of Nancy Meyers” (2016).
Emily Richardson is a UK-based artist filmmaker who creates film portraits of particular places. Her work focuses on sites in transition and covers an extraordinarily diverse range of landscapes including empty East End streets, forests, North Sea oil fields, post-war tower blocks, empty cinemas and Cold War military facilities.
Richardson’s films have been shown in galleries, museums and festivals internationally including Barbican Cinema, London; Pompidou Centre, Paris; Anthology Film Archives, New York; Tate Modern and Tate Britain, London; Uppsala Museum, Sweden and Venice, Edinburgh, London, Rotterdam and New York Film Festivals.
Emma Kredl is an MA student in the film studies department at Concordia University. Kredl’s research interests are primarily based in genre cinema with a focus on horror and melodrama.
Basée à Montréal et à Berlin, Emma est une cinéaste qui explore les thématiques liées à la mémoire tout en faisant appel aux technologies numériques et analogues.
Emma est membre et administratrice de VISIONS ainsi que co-fondatrice de la lumière collective, deux institutions vouées à la diffusion et promotion de pratiques cinématographiques expérimentales (Montréal, Canada).
Emmanuel Lefrant lives and works in Paris, where he makes films, all self-produced, exclusively on celluloid. The films lie on the idea of representing, of revealing an invisible world (the secret forms of emulsion), a nature that one does not see.
In 2000, he founded with Nicolas Berthelot, Alexis Constantin and Stéphane Courcy the collective Nominoë. They created together performances which have been played in many places, as the Pompidou Centre, the Serralvès Foundation (Porto) or the Rotterdam International Film Festival (IFFR).
Eric Fillion is a postdoctoral fellow (SSHRC and FRQSC) in the Department of History at the University of Toronto. He holds a PhD in History from Concordia University. His research explores the social and symbolic importance of music, within countercultures and in Canadian international relations. His ongoing work on cultural diplomacy and Canadian-Brazilian relations builds on the experience he has acquired as a musician. It also informs his current postdoctoral project, which examines international music festivals as transnational, contested sites of cultural performance during the long sixties. An affiliate of the North American Cultural Diplomacy Initiative (NACDI), he is the founder of the Tenzier archival record label and the author of JAZZ LIBRE et la révolution québécoise.
