A chronological autobiography of the filmmaker’s becoming and of sexual awakening, “OB SCENE” melds personal and political, experience and science, and observation with dry humor in a poignant essay about the act of accommodating one’s own body and sexuality.
A poignant personal essay with a style infused with dry humour and self-irony, “OB SCENE” is a glimpse into the world of a young woman who tries to match up her experience of embodiment and sexuality against a set of strict definitions – originating in fields ranging from medicine to pornography. The knowledge that Orlandini hails from a family of doctors in the fields of sexology and psychology is more than a simple fun fact, underlining also the backdrop for the film’s subtle conflict: how does one relate to rigorous classifications of genders and bodies when one’s own is outside the norm? (Flavia Dima)
Paloma Orlandini Castro lives in Buenos Aires, where she got a degree in Documentary Film from the National University of San Martín. At the same time, she was trained in Digital Restoration of film archive material (UNSAM-FNA Program) and works as an ad honorem teacher in the Chair of Ethics and Deontology at the IAMK – UNSAM. Along with directing her own films and video-essays, she also worked as an assistant director, a producer or art director on various other productions.
FILM TITLE: OB SCENE
Director: PALOMA ORLANDINI CASTRO
26′, 2017, Argentina
CINEMATOGRAPHY/ IMAGINE: Felipe Bozzani
EDITING/ MONTAJ: Zoe Fahler
SOUND/ SUNET: Zoe Fahler
PRODUCTION/ PRODUCȚIE: Manuel Pasik
Gisela Chicolino/ FilmsToFestivals
In a small and faraway Indian village, the mythological tale of the goddess Kalsubai is still alive in the community of the Koli tribe. She shows herself under a human shape to a cow herder, offering to join him as his daughter – but not without setting two crucial conditions
A chronological autobiography of the filmmaker’s becoming and of sexual awakening, “OB SCENE” melds personal and political, experience and science, and observation with dry humor in a poignant essay about the act of accommodating one's own body and sexuality.
Over a static, red foreground, a woman tells the story of an abusive relationship that culminates in domestic violence.
A splendorous and apparently deserted villa is overrun by a pack of dogs. In the vacuum that is borne in the moments immediately following an act of violence, the still live tableaus are revived through the sheer force of animalism.