6 mins | 2018 | 16 mm | Stereo | DCP
Spanish | English and French Subtitles
“Passing by a bedroom, at the party, I saw people heating heroin. I wanted to try it out on my body…” Accompanied by the voice-over of Jeny – a young transsexual filmed during her rehab –, the camera wanders around building 303, Bogota’s architectural icon. A chance encounter: a few years back, when the filmmaker’s father asked her to film the architecture faculty where he had taught, an accident with her 16 mm film resulted in a superimposition of the portrait of Jeny. The film is a testimony where the discreet affirmation of revolt can be heard: “neither torturer, nor victim”. Jeny (who refers to himself in the masculine gender) recounts his delinquency as being the just return for the social violence committed against him. The building, disused at the time of the shooting, is not only interesting for its Bauhaus style copied by German architects in 1964, but also because it has been the centre of many student uprisings. During the generation of the filmmaker’s father, it was a hotspot of the activism repressed in bloodshed across all of South America. On one side a survivor (heroin used as an escape to elsewhere), who turned his tattooed body into a work of art, and on the other, the political slogans “tattooed” on the brick walls – open-air history books that were demolished in 2015." (Charlotte Garson)
"In (...) Jenny303(2018), the titular protagonist’s arm comes into view: A close-up of a florid tattoo, as Jenny tells us, “I am a victim and a criminal,” alluding to her struggle with addiction, but also to the fact that she has taken advantage of the men she used to pick up for sex and then mug with the help of her boyfriend. Jenny acted the victim in her criminal stunts, a part that delights her as much as it causes faint qualms. But Jenny also views herself as performer at large: She embodies multiple aspects of gender, which she annunciates sensually, detailing men’s attracting to her scent, their curiosity about her penis, their urge to touch her thighs. It’s this performativity—of gender roles, of doer and passive receiver, of slipping in and out of act—recalled, replayed, re-imagined on film, with deep psychological resonance—that forms the most potent part of Huertas Millán’s oeuvre." (Ela Bittencourt)
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Cinéma du Réel 2018 (Short films competition), Paris, France.
New York Film festival (Shorts Program), Film Society of Lincoln Center, New York, US.
Festival Internacional de cine de Mar del Plata 2018 (Retrospective), Argentina.
Houston Cinema Arts Festival 2018, US.