Edin Velez

An intimate space carved out of a quiet late summer day. Extreme close-ups of domestic life bathed in a ripe light slowly open up into wider landscapes of less forgiving time. This is a morning in Transylvania.

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This cine-portrait of New York City uses digital effects to turn the countless riders of the subway system into living, breathing paintings.

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Drawing on rare performances, interviews, animations, and experimental film, this documentary surveys the formative years of electronic music from 1948 to 1980. Featuring pioneering composers and inventors—including Milton Babbitt and Leon Theremin—the film explores the experimental technologies, academic laboratories, and creative struggles that shaped the early evolution of electronic sound.

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Featured are Black's Beach in San Diego, Paradise Lakes of Tempa, FL, Steph's Pond in Upstate New York, Cypress Cove, Rocquemont Beach on Guadeloupe Island, East Coast gathering of Naturists at a Poconos Mountain camp, Belezy in Southern France, Munich's Central Park in Germany, Mykonos Island in Greece, Sorobon Resort on Bonaire in the Caribbean and Cap D'Agde, the French Mediterranean city.

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The dark sensibilities and cultural resonances of Butoh, the radical Japanese dance movement, are explored in this multilayered work. Profoundly rooted in both traditional and contemporary Japanese culture, Butoh arose in a spirit of revolt in the early 1960s. Characterized by frank sexuality and bodily distortions, Butoh transforms traditional dance movements into new forms, stripping away the taboos of contemporary Japanese culture to reveal a secret world of darkness and irrationality.

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Filmed over a year in Japan, Edín Vélez’s experimental video essay examines the tension between tradition and modernity in Japanese culture. Through a nonlinear collage of layered images—ranging from bullet trains and corporate life to Kabuki, Sumo, and Shinto ritual—the film explores the concept of ma, the “interval” or charged space between things that shapes rhythm, balance, and meaning.

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Oblique Strategist Too is a multilayered, tangential portrait of composer Brian Eno, and an evocative essay on the creative process. Eno's perspectives on his music and working methods surface elliptically, through interviews and footage of him in the studio and in lectures. Eno emerges as a meticulous musician, articulate critic, and, ultimately, an inscrutable personality. The tape's title is taken from a set of cards bearing aphorisms, which Eno uses as a random element of advice in his working process. Velez uses intricate audio and video effects to heighten the elusive nature of Eno's music and character. He begins the tape with a quote from Heraclitus: "The nature of things is in the habit of concealing itself" a paradox that eminently suits his subject matter.

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Filmed in the Guatemalan Highlands during a 1980 journey, Edín Vélez’s experimental video essay offers a lyrical portrait of Mayan life. Avoiding conventional narration or ethnographic analysis, the film observes gestures, landscapes, and daily rituals through slow motion and expressive camera techniques, while American news broadcasts evoke the political conflict surrounding the community, creating a meditation on cultural resilience in a changing world.

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Director Kelly Anderson's personal journey as a Brooklyn 'gentrifier' to understand the forces reshaping her neighborhood along lines of race and class. The film reframes the gentrification debate to expose the corporate actors and government policies driving displacement and neighborhood change.

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Filmed over a year in Japan, Edín Vélez’s experimental video essay examines the tension between tradition and modernity in Japanese culture. Through a nonlinear collage of layered images—ranging from bullet trains and corporate life to Kabuki, Sumo, and Shinto ritual—the film explores the concept of ma, the “interval” or charged space between things that shapes rhythm, balance, and meaning.

Open details →

Filmed in the Guatemalan Highlands during a 1980 journey, Edín Vélez’s experimental video essay offers a lyrical portrait of Mayan life. Avoiding conventional narration or ethnographic analysis, the film observes gestures, landscapes, and daily rituals through slow motion and expressive camera techniques, while American news broadcasts evoke the political conflict surrounding the community, creating a meditation on cultural resilience in a changing world.

Open details →