Camilo Restrepo & L’Abominable
The programme of this section -curated by Andrea Franco- presents the work of Colombian filmmaker Camilo Restrepo (Medellin, 1975) in dialogue with a number of authors who share formal and content interests. Like him, most of these authors are part of the cooperative L’Abominable, located on the outskirts of Paris.
L’Abominable is a laboratory of filmmakers working especially on celluloid, with Super 8, 16mm and 35mm film. A collective workshop where tools and knowledge are shared, so that each author is able to develop their own intellectual and material work.
The choice of an almost extinct medium (celluloid) denotes their interest in producing out of the systems of industrial filmmaking. For Restrepo and his colleagues at L’Abominable, the removal of the industry’s monopoly on celluloid in favour of digital cameras has opened the door to an autonomous production for filmmakers. Working on celluloid -filming, developing and editing- is for them to become aware of the entire work of gestating of the image.
It means believing in an economy of images not measured in the number of images that can be done but in their quality. With few economic resources, the filmmakers of L’Abominable must focus their projects on a small amount of footage. The basis of their work is imagining the film, conceiving it blindly without filming hours and hours of material. Measuring the importance of an image and its impact is, in a way, taking an ethical position against the current broadcast systems.
In Camilo Restrepo’s films, images always appear as a content to be interpreted and which can prove to be real political weapons. The interpretation of the images -broadcasted by the media or produced by the filmmakers themselves- is a necessary and constant work in order to prevent tampering. An important aspect of the work of Camilo Restrepo focuses on analyzing the images produced within the Colombian armed conflict.
Andrea Franco & Camilo Restrepo