The cinema does not just present images, it surrounds them with a world.

Gilles Deleuze, The Time-Image.

 

 

 

Heist Films Entertainment, besides being the title of this exhibition, is the name of a cinematographic producer created by Gustavo von Ha to develop and distribute trailers of films that will never be made. TokyoShow [A Busca do Amor], Gasoline [Hollywood em Chamas], Gasoline 2 – Back to the fire [Hollywood em Chamas 2] and Paranormal [Garota Diabólica] have publicity pieces, professional actors and actresses, pages on Internet and on the social networks, DVDs distributed at pirated film stands and posters, in short, everything a real film should have by convention. Nevertheless, they only emulate a reality that is never wholly concretized.

 

While on the one hand the producer does not furnish the public all the images that could compose a feature-length film, it opens the doors to the world that each of these trailers suggests. The spectator is confronted with a series of images, narrative fragments, photographic tones, scenes and characters that weave the structure of the universe pertaining to each film.

 

These universes possess their own rules and instate independent temporalities, which are developed beyond the moving images presented in the trailers. In this operation, the imagetic surface is not opaque, but rather translucent, providing a communication channel between what is visible and what is imaginable. It is in this possible field, of the yet to come, that the virtual worlds of each film are developed. Based on 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 senses: the real feeds the virtual and vice versa. The trailers are accompanied by scene props – actually used during the filming or created later – along with still shots and documents concerning the production process. They are objects and images that gain body based on virtual worlds instated by the films.

 

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

 

 

Tomás Toledo

curator