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Heist Films Entertainment 

Cinema does not just present images, it involves them in a world.

Gilles Deleuze, The Time-Image.


Heist Films Entertainment, in addition to being the title of this exhibition, is the name of a film production company created by Gustavo von Ha to develop and distribute trailers for films that will never be made. TokyoShow [The Pursuit of Love], Gasolina [Hollywood in Flames], Gasolina 2 – Back to the Fire [Hollywood in Flames 2] and Paranormal [Garota Diabólica] have advertising pieces, professional actors and actresses, websites and networks social networks, DVDs distributed on pirated film stands and posters, in short, everything that a real film should have by convention. However, they only emulate a reality that is never fully realized.


If, on the one hand, the production company does not provide the public with all the images that could make up a feature film, it opens the doors to the world that each of these trailers suggests. The viewer is confronted with a series of images, narrative fragments, photographic tones, scenes and characters that weave the structure of the universe of each film.


These universes have their own rules and establish independent temporalities, which develop beyond the moving images presented in the trailers. In this operation, the image surface is not opaque, but translucent, providing a communication channel between what is visible and what is imaginable. It is in this possible field, of what is yet to come, that the virtual worlds of each film are developed. From this crossing of the image, which creates temporalities, the real and the objective give way to the virtual and the subjective.


In this exhibition, however, this communication channel is activated in two ways: the real feeds the virtual and vice versa. Trailers are accompanied by props – used during filming or created later – along with outtakes and documents relating to the production process. These are objects and images that take shape from virtual worlds established by films.


This two-way street provides the public with the possibility of constantly re-elaborating the narratives and virtualities of the Heist Films Entertainment universe, putting into perspective the continuous possibility that cinema provides: the creation of worlds.



Tomás Toledo


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