In the structuralist films in this session, German Werner Nekes and American Paul Sharits each start out from a single resource: panoramic views of the horizon and the double screening of pure colours. This allows them to musically explore the variations of light and colour, expanding the screen and broadening our perception.

The protagonists of these dreamy, visionary trance films begin their erotic quests while going through various mental and emotional states. By means of visual symbols or metaphors, elliptical narratives and different editing strategies, Markopoulos addresses the disclosure of sexual identity (Flowers of Asphalt), the rejection of the male heterosexual role (Swain) and unconsummated sexual desire (The Mysteries).

This season’s opening session presents a series of films that address the relationship between women and musical composition. These are films with composition models very similar to those of music, scores where the sounds are notated in the form of images that work on their synchrony, where what is seen and what is heard is often materially the same. These kinetic compositions by Eugènia Balcells, Mary Ellen Bute, Lis Rhodes and Blanca Rego serve as a pretext to highlight the presence of female composers in the history of music.

Parallel to their unique cinematographic self-portraits, Maria Klonaris and Katerina Thomadaki launched their Série Portraits in the early 1980s, in which they reinvented the art of film portraiture by composing images of women who don't represent any preconceived idea of "femininity" and by engaging in an ethical reflection of woman as subject in a dialogue that tests the boundaries between Self and Other.