Carlo S. Hintermann is an Italian-Swiss director and producer. After studying classical percussion, philosophy and history of cinema in Italy, he moved to the United States, where he studied film directing and made a series of short films. He began his career as a documentary maker by making, together with Luciano Barcaroli, Gerardo Panichi and Daniele Villa, the film Rosy-fingered Dawn: A Film on Terrence Malick presented at the Venice International Film Festival in 2002. Later Chatzer: Inside Jewish Venice (2004 ) and The Dark Side of the Sun (2011) which investigates the relationship between life images and animation. He also directed the animated short H2O (2007). All his works are presented in major international festivals. Hintermann produced and directed the Italian unit of Terrence Malick’s The Tree of Life (2011), strengthening his collaboration with the great American director. In 2013, he directed the commercial for World Disease Day in collaboration with Annie Lennox and the Eurythmics. Later he also directed the commercial for the 2015 campaign. His film The Book of Vision, for which Terrence Malick is executive producer, opened the Critics’ Week as part of the 2020 Venice International Film Festival, before screening in many prestigious international festivals. As a producer, together with his partner Gerardo Panichi, he has co-produced numerous films, documentaries and short films, including Ana Arabia, Tsili and Rabin: The Last Day by Amos Gitai (all presented at the Venice Film Festival in 2013, 2014 and 2015 respectively), Monte by Amir Naderi (2016), Dal ritorno by Giovanni Cioni and Rhinoceros by Kevin Jerome Everson. Hintermann is also a musician, composer and film writer. With Luciano Barcaroli and Daniele Villa he wrote several volumes: Addio terraferma: Ioseliani secondo Ioseliani, (Ubulibri, 1999); Una storia vera – The Straight Story (Ubulibri, 2000); Il cinema nero di Takeshi Kitano: Sonatine – Hana-Bi – Brother, (Ubulibri, 2001); Scorsese secondo Scorsese, (Ubulibri, 2003) and Terrence Malick: Rehearsing the Unexpected (Faber & Faber, 2015).

Juan David Gonzàlez Monroy (1983, Colombia) is a visual artist based in Berlin. Since 2010, he has been working with the German artist Anja Dornieden under the alias OJOBOCA. Their work consists of short films, performances, installations and workshops. OJOBOCA has presented its works internationally at a wide variety of venues. Both González Monroy and Dornieden are members of the artist-run film lab LaborBerlin.

Filmography:

The Circle of Confusion (2008), Tunnels (2009), How to Catch a Mole (2009), And It Was Good (2009, doc), Awe Shocks (2011, co-dir), Oro parece (2012, co-dir), The Handeye (2012, co-dir), Eigenheim (2012, co-dir), A Flea’s Skin Would Be Too Big for You (2013, co-dir), Come and Dance with Me (2013, co-dir), Gente perra/Dog People (2014, co-dir), Wolkenschatten/Cloud Shadow (2014, co-dir), The Masked Monkeys (2015, co-dir), Heliopolis Heliopolis (2017, co-dir), The Skin Is Good (2018, co-dir), Comfort Stations (2018, co-dir).

She is a curator, researcher and educator based in Amsterdam. She is the curator of the Public Practice program of the BAK (basis voor actuele kunst) in Utrecht. She is also one of the programming managers at the Film at Lincoln Center in New York – where she co-directs the Art of the Real festival and acts as advisor for the New York Film Festival – and is a permanent editor of the sonic research platform Infrasonica. With Onyeka Igwe and Laura Huertas Millán she organizes Counter-Encounters, a curatorial and research initiative on alternative ethnographies. She recently taught for Curatorial Studies at KASK, The New School, Harvard University, and the New Center for Research and Practice. Rakes is co-editor from Practice Space (2019, NAME / De Appel), and frequently publishes critiques and essays.