Atopia

This 1-channel film comes from the seek to resignify spaces that surround us. The dance takes place within the meeting with a hidden habitat in the middle of the city. It plays with the concept of "non place" to create an oneiric atmosphere. Two woman wander around and inhabit the city through the body.

  • Daniela García
    Director
  • Lola Caniggia
    Key Cast
  • Anita Gómez
    Key Cast
  • Paula Bugni
    Camera
  • Daniela García
    Camera
  • Francisco Zuain
    Music
  • Project Title (Original Language):
    Atopia
  • Project Type:
    Experimental, Short, Other
  • Runtime:
    3 minutes 13 seconds
  • Completion Date:
    June 17, 2019
  • Production Budget:
    500 USD
  • Country of Origin:
    Argentina
  • Country of Filming:
    Argentina
  • Language:
    Spanish
  • Shooting Format:
    Digital
  • Aspect Ratio:
    17:9
  • Film Color:
    Color
  • First-time Filmmaker:
    Yes
  • Student Project:
    No
Director Biography - Daniela García

I was born in Bahía Blanca in 1984. I studied Philosophy and Combined Arts.
I graduated from the montage career at ENERC and I completed the training with the dramatic structure course with Miguel Pérez.
I am currently coursing the “Lo Audiovisual” clinic with Karina Acosta and the Master in Documentary Journalism at UNTREF. I work as a freelance editor. I live in Buenos Aires.

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Director Statement

I'm interested in working with the mismatches, the disturbing voids.
Everything in the image that inevitably alludes to an imaginary off.
I like to think that outside the field refers to shown scene, playing with the aesthetics of error and chance, leaving room for ambiguity.
The split screen, in addition to enabling an anti-natural point of view, of fragmentation and simultaneity at the same time, makes the shots have the same preponderance, to which the exaltation of the device is added.
The metalanguage always interested me, the fact of making the device evident in the work in order to ponder on it.
The creative process as the out of field of the work, always present in some hint.
I capture everyday situations to transform them into something else, pay attention to what surrounds us, make the environment I live in more complex.
I search in the sinister, the other side of the familiar, what is behind of what alienates us.
Nature can be something sinister because it is something we live with but no, it’s intimate, it is there above all things, whatever we do to try to control it invades all, it always arises, it has a life of its own. It is something always known and at the same time hidden.
In that sense of overwhelming power, it’s sublime.
I seek to dwell on that, which is always hidden before us, to make it emerge from a new aspect. Put a trivial scene where that new aspect appears as a doppelgänger.