Cabo Tuna o la gestión del cielo

Unidad de Montaje Dialéctico (UMD) is a faceless artistic collective. Their refusal to show their faces, or use their own names, comes from a defense of secrecy and the collective, as a tactic to confront the logic of performance and the industrial-celebrity complex. The collective’s practice has centered around the film essay as a way to generate constellations of dialectic images that strain multiple realities and temporalities. Their work has been presented at international festivals such as Punto de Vista (Spain), FICUNAM (Mexico), FICValdivia (Chile) and Chicago Underground Film Festival (USA), among others.

Hegemonic cinema tends to adjust itself to the logic of streaming and show business. Caveman cinema aims to blur the lines between militant and experimental film. Hegemonic cinema tends to swell its productions, which now need to follow strict hygiene protocols. Caveman cinema calls us back to found footage and editing as a way to create films. Hegemonic cinema tends towards individualism; the director as the creative genius. Caveman cinema is created collectively, in horizontal collaboration. Hegemonic cinema tends to lean on the fame of the director. Caveman cinema celebrates secrecy and the collective as creator. Hegemonic cinema relies on the celebrity of the actors as a commercial strategy. Caveman cinema relies on non-professional actors. Hegemonic cinema loves red carpets and award shows. Caveman cinema is shown among friends as they gather around a fire in a cave.