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Super 8, B&W in color, approximately 25 minutes. Triple projection, sound in digital file. Music by Claudio Caldini. "Chromatic Ghosts operates through the primitive system of color photography, not to reconstruct its result but to decompose it, suggesting in the images a critique of the omnipresence of the automobile and an impossible escape into the natural world."
Film of "El Clú del Claun", directed by Claudio Caldini, which opened the show "I'll make you pay for this...!", from 1987. Shot at the Centro Parakultural, Buenos Aires, Argentina.
Super 8 film - U-MATIC Video hybrid. Music By Jorge Haro & Alejandro Fiori. 1990.
Complete version in three parts. Reconstructed from VHS transfers of the original Super-8. Music and film by Claudio Caldini, 1988.
"Rain is a thing that surely happens in the past" Borges
Made as a Visiting Artist at Liaison of Independent Filmmakers of Toronto (LIFT).
When I first arrived in Barcelona in 1974 I decided to make a film about architect Antoni Gaudi's Park Guell. I found a film already conceived in the 1914 design; it was enough to follow the trajectories traced by Gaudi, imagine them as a labyrinth, reproduce the bursting of the mosaics through an analogous fracture of linear temporality. In the editing I tried to avoid showing passers-by. No human figure should get in the way of the appearance of that fantastic architecture. The stop-motion technique applied to the position and parameters of the camera still seems suitable for representing the undulating space of the park.
Video: Caldini, 2016.
A child plays on the beach; we are in home-movie territory. For years I thought I had made a film-poem, without knowing how to explain it, until Gilles Deleuze created the concept of "perception-image": A character acts on the screen and it is assumed to see the world in a certain way. But simultaneously the camera sees him, and sees his world from another point of view which thinks, reflects, and transforms the viewpoint of the character [...]. In short, perception-image finds its status, as free indirect subjective, from the moment that it reflects its content in a camera-consiousness which has become autonomous ('cinema of poetry'). (Gilles Deleuze, Cinema I: The Movement-Image).
Using observation as a starting point, the filmmaker constructs a dystopian science fiction chronicle in La República. Ironic observations on the trans-Platonic republic.