Instructions on How to Make a Film (2018) 13mins, sound, b&w, 24fps
materials: 3378 hi-con, laser engraver, exacto knife

Shot at the Film Farm in Mt.Forest, this comedy is a quest about performance, educational voiceover, analogue filmmaking, ASCII, language, ethics of ethnography and narrative storytelling under a metaphor of instructions to farm land. Text by Barbara Kirshenblatt-Gimblett and Wikihow/shoot-film.

Between Relating and Use (2018)
16mm, laser engraver, Ektachrome, color, 9min, sound, 24fps (Argentina/USA)

"Exhibitons, whether of objects or people, are displays of the artifacts of our disciplines. They are for this reason also exhibits for those who make them, no matter what their ostensible subject. The first order of business is therefore to examine critically the conventions guiding ethnographic display..."*

Borrowing words from Laura Mark's "Transnational Object" and DW Winnicott's "Transitional Object", this film is an attempt to ethically make work in a foreign land. Transitioning from assuming the position of an ethnographer, we turn and explore inwards- on how we use our lovers.

*Destination Culture by Barbara Kirshenblatt-Gimblett, 1998

Shape of a Surface
(2017) 9min, 16mm, Color, Sound, 24fps /Turkey

The ground holds accounts of once pagan, then christian and now muslim ruins of the city built for Aphrodite. As she takes revenge on Narcissus, mirrors reveal what is seen and surfaces, limbs dismantle and marble turns flesh.

(2015) 16mm, 10:50, Color, Sound, 24fps 

Wittnerchrome, Exacto Knife, 1.5mm Letter Punches, Hammer, Leather Puncher

This is a feminist critique of the Oedipal complex. It is not the male child's desire to have sexual relations with the mother. It is the mother's desire to be sexually attracted to child-like men. The filmmaker recounts an abortion she had in 2009. If she had the child, he would have turned six this year, in 2015. The aborted child survives and becomes her lover. The filmmaker films her subject in a private act, complicating what could be considered a solitary act. 
There are three endings to the film. First is a recount of the child's earliest sexual memory, similar to the filmmaker's, the text is hammered on the film with letter punches. Second is a letter written to the filmmaker from her subject, is read by the filmmaker, the image is punched out with a leather puncher and carefully replaced into blackness not to lose motion. A pop song from 2009 is used, the one the filmmaker heard while driving in the taxi from her abortion.. The film concludes by a letter written to the subject by the filmmaker. In this third part the audio is broken apart and the letter is reversed, mimicking the reverse masturbation(the image).

Solitary Acts #5
(2015) 16mm, 5.5min, Color, Sound, 24fps
(attn: the print is silent, but the sound is turned on to hear the film crackling itself as in this video reference)

Wittnerchrome, Exacto Knife, Fishing Line, Sewing Machine

The filmmaker films herself practice kissing with a mirror. She recalls teenage memories of overconsumption, confusing oral fixations that are both sexual (kissing) and bodily (eating). She ends up eating the carrot she is masturbating with, and she feels a sense of cannibalism. The components of the background of the scene are broken down and filmed in extreme closeups. These wave and play with one another: when text is overconsumed it becomes the image by wiping it out, then the image becomes the fabric where the filmmaker physically attaches the film together with fishing line.

Solitary Acts #4
(2015) 16mm, 8min, Color, Sound, 24fps

Wittnerchrome, Exacto Knife, Typewriter

The filmmaker films herself masturbate the object of debate. She hears others claim her body, her habits: those in her conservative surroundings as a child. The viewer claims her as well, by watching her in this private act. She is 9 years old, then 12. She observes popular icons, dismissing the agency of their body, she then rejects the other, objects outside of her body: with some teenage angst, denies climax to everyone else but herself.

(2014) 16mm, color, 24fps, sound, 10.5min

A transcription of what I have been told during intimate experiences while separating from my husband. Sections consist of destroyed originals from Leafless(2011), motifs of the "feminine" alluding to Jack Smith's Flaming Creatures(1963) and of reconstruction of a pomegranate. These decorative objects are re-valued through a controlled act of cutting, with an allusion to synchronization. Obscured images clear out while the hand scratched text becomes harder to read with each section. Direct sound of cuts and hand processing are composed of 26 frame shots. Un-synced, it reveals a hearing of past images, as an act of translation.

(2011) 8min, 16mm, color, silent, 24fps

Leafless is an expansion of collections, a hand processed love poem of textures about becoming familiar with a significant other’s body in reservation with its landscape.

(2009) Color, Silent, 24fps, 4min

8 stereoscopic slides taken to the jk-104 optical printer, shot frame by frame, by hand. This is the first hand processed color film from Dincel. The slides were found at a thrift store in Milwaukee, WI in 2009. They are of Cuba between 1948 and 1950 taken by an army officer while accompanied by his family. Dincel reclaims their touristic gaze, by fragmenting their photographs into new possibilities of the frame, and reviving the bodies that may have perished by the revolution in 1952.