Artificial Generation is a subjective look at the history of Video Jockeys, with a nostalgic emphasis on the relationship between art and technology. Led by Julián Lascano, a pioneer VJ who's trying to hack the brain, Federico Pintos -director of this film- wanders into the labyrinth of a metaphysical discussion regarding the limits of experimentation, the artist and his audience, and videoreality as the future of the human species.

Utilizing a brain-computer interface (BCI), director Federico Pintos performs a real-time remix of his film, where neural activity dynamically triggers access to specific scenes, alternate takes, and unreleased footage. Simultaneously, brainwave data modulates parameters of audio and visual processing. The result is a live audiovisual system at the crossroads of cinema, neuroscience, experimental sound design, performance art, and real-time media manipulation (VJing).

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The Only Truth Is Videoreality is an interactive web-based project that combines video art, coding, and game mechanics.

The user interface operates as an archaeological puzzle, inviting users to alter the site’s source code, engage with a ghost-like BOT, navigate a built-in video game, and access an interactive, non-linear version of the film Artificial Generation.

Synopsis
At the time of his death, Victor’s secret life as a crossdresser is uncovered and sparks his son’s journey to redefine masculinity and fatherhood.

"The Afterward" has received significant support through various labs and grants.
It was awarded the BAL LAB Prix at the Biarritz Film Festival in France. Additionally, it was selected for the non-competitive pitching lab at FIDBA (Argentina), won four awards at the Viña del Mar Film Festival Lab, was recently selected for the SANFIC Lab — part of Chile’s most prominent film festival — and was also chosen for Sentimientos Encontrados, a residency led by Berlin-based filmmaker and artist Manuel Abramovich.

How many generations must pass before we can truly call the land of our forebears our own?
And when does it cease to be ours, becoming only theirs—the land from which they came?
Zainichi explores this tension, at once metaphysical, personal, social, and political.

Between 1910 and the end of the Second World War, Korea was annexed by the Japanese Empire. Since then, Koreans and their descendants have formed Japan’s largest ethnic minority, known as Zainichi. Even today, out of fear of discrimination, many still conceal their origins.

After the death of his grandmother—the last family member born in Korea—a man returns to his hometown for her funeral, unannounced and uninvited. Now married to a Japanese woman, he has grown increasingly estranged from his relatives. Over the course of a three-day journey with his niece, he begins to see his family history in a new light, challenging both his quiet desire to assimilate and his sister’s fervent national pride.

I began my career as Editor-in-Chief of Haciendo Cine, Argentina’s leading film magazine, where I interviewed key figures of the New Argentine Cinema, wrote reviews, and led numerous editorial projects. Since then, I’ve developed ideas and content for production companies, animation studios, visual artists, and brands.

For Raymond, I created content for tv channel I-SAT and video pieces for artist the performance Biennale. At Detuco, I wrote animations for Cartoon Network and a short film awarded by Argentina’s National Film Institute (INCAA). At Pattern TV, I developed videos that are currently on display at C3 (Argentina’s Science and Culture Center). For Virgen Films, I wrote music videos for Fito Páez and developed a TV series. I also crafted treatments, pitch decks, and presentation dossiers for science fiction projects, series, and campaigns for production houses such as Las Minas, Dukkah, Culmin, among others.

In addition, I served as a mentor for emerging artists at the Buenos Aires Young Art Biennial and contributed to Dark Skull (Viejo Calavera) by Kiro Russo (Special Mention, Locarno Film Festival). I also co-wrote award-winning films such as A Blue Bird (Jury Prize, Biarritz Film Festival), received the National Endowment for the Arts (Fondo Nacional de las Artes) Literature Grant, and worked as an artistic producer for directors like Pablo Agüero, Ernesto Baca, and Karin Idelson on internationally acclaimed films and performances. 

As an educator, I’ve led seminars and talks at institutions including DAC, Citylab (Chile), BAFICI, NYU Buenos Aires, FUC, UBA, C3, the Centro Cultural Recoleta, Clave Festival and cultural centers and universities across Colombia, Venezuela, Mendoza, Rosario, and Córdoba.