Azucena Losana Movies

This is a series of studies filmed in 8 and 16mm about how self-exile develops a familiar and foreign perception about home.

From the series "Bichos de Luz", this is the portrait of Doña Vivi, maker and alchemist of the original light offered to the souls who come to...

The most transcendent and controversial event since the invention of the seventh art: the disappearance of photographic film. What for many people...

Performance with live audio equalization.

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 biggest, most populated, and frantic city in South America. While Cariocas are like tropical birds, Paulistas are like frenetic ants. Distances...

"Fragments of a few orphan films abandoned in a lab." (the8fest)

In La hora decisiva, Azucena captures, in the midst Mexican Revolution celebrations that happened in November 2019, an improvised street photography...

This is the filmic portrait of Daniel Vicinos, one of the most characteristic figures of Argentina's film industry: inventor, technician, collector,...

Roaming through the traditional Christmas stands of live carp fish on the street of Prague.

In the rainy season, after several days of downpours and gusty winds, calm finally arrives. The animals leave their burrows to dry out and mushroom...

Electromagnetic landscapes and marginal poetry on a holiday.

A duet for camera.

An imaginary place on the map of affections, where hawthorn, orange and plum trees coexist. An island and a valley which climbs stairs of all ages.

During the enhancement of the audiovisual heritage of the Embassy of Mexico in Argentina we found promotional tourist material in different media. I...

The filmic support as plastic material is an investigation that in this performance proposes the formal study of perforation and that of the human...

Letraset typeset intervention and editing on the projection copy of the film Cuesta Abajo, by Louis J. Gasnier, 1934.