Artistic Differences returns with a conversation featuring filmmaker Dane Komljen, whose latest film The Garden Cadences continues his poetic exploration of collectivity, intimacy, and impermanence. Hosts Cíntia Gil and Christopher Allen reflect with Komljen on a work that unfolds between reality and reverie — an evocation of a Berlin garden where friendship, love, and artistic labor entwine against the backdrop of a disappearing communal space.

Komljen shares the film’s origins in the city’s transient communities and its quiet attention to care, routine, and coexistence. The discussion moves fluidly between the philosophical and the personal, touching on ideas of paradise and exile, the fragility of utopian spaces, and the bittersweet beauty of endings. He speaks about the film’s haunting voiceovers — one drawn from a friend’s poem, another from his own WhatsApp messages written in a moment of heartbreak, revealing how private language and loss become collective expressions within the film’s delicate structure.

Throughout, the hosts and filmmaker consider the relationship between continuity and rupture, between tenderness and distance, and how a garden can hold the traces of both. As Komljen notes, recording his own voice became a way to "be there in the film, you know, to inscribe myself.”Listen in for a gentle yet piercing exchange on the politics of care, the poetics of community, and the quiet persistence of beauty in a world of endings.And don’t forget! You can watch The Garden Cadences too! It’s now streaming on the UnionDocs Membership.Big thanks to our incredible team:

Editor: Alison Rodgers

Mixer: Pedro Castro 

Music: Andres Simoes 

Production Support: Tara Aliya Kesavan, A.S.M Kobayashi 

This is a production of UnionDocs Center for Documentary Art. ARTISTIC DIFFERENCES is co-curated and co-organized by Cíntia Gil, Christopher Allen & Jenny Miller.

In this month’s episode of Artistic Differences, hosts Cíntia Gil and Christopher Allen speak with Argentine filmmaker Maria Aparicio about her stunning third feature, Undefined Things, winner of the Cinema Tropical Award for Best Latin American Film.

A delicate meditation on cinema, memory, and mourning, the film follows Eva, a film editor in Córdoba. Eva is working with her assistant on a documentary about people living with blindness, while also grappling with the recent death of Juan, a filmmaker friend whose films she once edited. Her days are divided between sorting through fragments of Juan’s unfinished images and the more immediate task of shaping a project with her assistant, blurring the boundaries between fiction and documentary and asking what it means to carry the work of others forward.

Blindness, both literal and metaphorical, emerges as a central thread. Eva’s encounters with the blind people she meets reshape how the film listens, looks, and attends to the everyday. The vivid conversations they have form a counterpoint to Eva’s solitary editing, suggesting another way of perceiving the world. “I sometimes think that cinema is very connected to faith,” Aparicio reflects, “like believing in something.” In Undefined Things, blindness is not a limit, but an opening—a reminder that there are forms of experience and knowledge that exceed what is visible.

Aparicio turns to Borges, whose writings on blindness open a way of thinking about cinema not as pure vision, but as a medium of transformation and relation. She reflects on the practical conditions of making films in Argentina — from the support of public film funds to the constant challenges of sustaining independent cinema. She also tells us about the more intimate forces that shape her work: friendship, teaching, collaboration, and the necessity of love and play. Taken all together, she threads a vision of cinema as both fragile and inexhaustible, a space where blindness, doubt, and wonder can coexist, and where images continue to create bonds between people.Big thanks to our incredible team:

Editor: Alison Rodgers

Mixer: Pedro Castro 

Music: Andres Simoes 

Production Support: Tara Aliya Kesavan, A.S.M Kobayashi 

This is a production of UnionDocs Center for Documentary Art. ARTISTIC DIFFERENCES is co-curated and co-organized by Cíntia Gil, Christopher Allen & Jenny Miller.

Artistic Differences returns with an introspective and resonant conversation featuring filmmaker Masha Chernaya focusing on her daring debut feature, The Shards, which was the winner of the Doclisboa Film Festival's International Competition and the recipient of the Doc Alliance Award for Best Feature Film.  This prestigious award was just announced at this year’s Cannes Film Festival where the jury praised the film “for its unique cinematic qualities” and honored its “cinematic language that is quiet, resistant to classic narrative structures, and develops a striking ability to merge personal and collective mourning.”

Hosts Cíntia Gil and Christopher Allen unpack Chernaya’s poetic yet unsparing style, which centers on a young woman as she is saying goodbye to her homeland and follows her attempt to process a cascade of personal losses — including the death of her mother and the escape of her partner from military conscription — within the silence and surveillance of contemporary Russia. Chernaya opens up about her hybrid creative process, blending scripted scenes with documentary footage, private phone videos, and moments of raw improvisation. The conversation traces the intimate making of the film, shot over seven years on minimal resources and maximal instinct. She also speaks about the larger forces that shaped it: state repression, systemic grief, and the unstable architecture of memory.Throughout, Chernaya speaks candidly about performing her own pain for the camera. “I am not just a crying girl with grief and anger,” she says. “I’m also a big manipulator—I’m crying, but I’m calling the camera.” Together, the hosts and filmmaker examine how The Shards reclaims fragmented narratives and contested personal histories through aesthetic experimentation and performative vulnerability. Chernaya reflects on finding strength in ambivalence, wielding her own image as both shield and weapon, and embracing contradiction as a radical formal strategy.

Listen in for an atmospheric and emotionally charged exchange on image-making under pressure, resisting closure, and documenting oneself as both witness and artist.

And don’t forget! You can watch The Shards too! It’s now streaming on the UnionDocs Membership.Big thanks to our incredible team:

Editor: Alison Rodgers

Mixer: Pedro Castro 

Music: Andres Simões 

Production Support: Tara Kesavan, A.S.M Kobayashi 

This is a production of UnionDocs Center for Documentary Art. 

ARTISTIC DIFFERENCES is co-curated and co-organized by Cíntia Gil, Christopher Allen & Jenny Miller. 

Artistic Differences returns with an atmospheric conversation with filmmaker Tyler Taormina (Christmas Eve in Miller’s Point, Ham on Rye)! Hosts Cíntia Gil and Christopher Allen sit down with Taormina to discuss his haunting second feature, Happer’s Comet, a film that explores the emotional architecture of suburbia and the strange nocturnal magic of the eventide hours.

The discussion weaves through memory, midnight wanderings, and the unseen forces that shape suburban life. Taormina reflects on how his teenage years—sneaking across car-centric landscapes in search of intimacy—laid the foundation for a cinematic style he calls the "ecosystem film.” In Happer’s Comet, he crafts a dreamlike mosaic of people moving through a shared space, rarely together, but instead connected through glances, surveillance, and a palpable sense of disquiet.

The conversation delves into the delicate tension between control and spontaneity in Taormina's filmmaking. He reflects on the unpredictability of casting, where discovery often outweighs intention, and how his creative process thrives in the uncharted spaces between light, color, and the unsaid connections between people.

Taormina also touches on the tension between tradition and innovation in cinema, sharing how he blends American pop culture with European arthouse and East Asian slow cinema influences. His films resist conventional resolutions, instead leaving viewers with a sense of mystery and unresolved emotions. Tune in for a conversation that moves from the personal to the philosophical, from quiet suburban streets to the intimate corners of cinematic form. Listen in, and don't forget, Happer’s Comet is streaming now on the UnionDocs Membership platform—best watched on a big screen, loud speakers, and of course, in the dark!And considering joining next month’s cineclub on the first Saturday, as always. Sign up!

Thanks to our incredible team!

Editor: Alison RodgersMixer: Pedro Castro 

Music: Andres Simoes 

Production support: Tara Kesavan

Additional UnionDocs support provided by A.S.M Kobayashi & Scott Limbacher

This is a production of UnionDocs Center for Documentary Art. 

ARTISTIC DIFFERENCES is co-curated and co-organized by Cíntia Gil, Christopher Allen & Jenny Miller.

Artistic Differences  returns with a revelatory conversation with filmmaker Trương Minh Quý, whose work reshapes our understanding of memory, history, and exile. In this latest episode, our hosts Cintia Gil and Christopher Allen sit down with Quý to explore his radical approach to storytelling—one that collapses time, unsettles the distinction between reality and imagination, and challenges who gets to author history.

For Quý, home is never fixed—it is something we carry, something that is constantly reimagined. His poetic 2019 film The Tree House unfolds through the gaze of a filmmaker exiled on Mars, looking back at a Vietnam that is fragmented, obscured, and slipping away. Through intimate oral histories and archival images, Quý questions how history is recorded, what gets preserved, and why some stories are left to disappear. His filmmaking resists singular authorship, instead offering something more porous—a space where voices, histories, and memories converge. The Tree House asks: What if history isn’t linear, but something that overlaps, loops, and erodes? What if time itself is a kind of exile?

In the episode, he speaks about the paradox of making films that document a reality he can no longer access, the philosophical underpinnings of his editing choices, and the eerie way censorship has made him visible in precisely the way he sought to evade. He describes how state power manufactures fear, creating invisible obstacles that shape not just artistic freedom, but the very way a filmmaker sees themselves.

Tune in! And if you want to step further into Quý’s world, watch The Tree House — the film is now streaming on the UnionDocs membership!

And considering joining next month’s cineclub on the first Saturday of December. Sign up!

Thanks to our incredible team!

Editor: Alison Rodgers

Mixer: Pedro Castro 

Music: Andres Simoes 

Production support: Tara Kesavan

Additional UnionDocs support provided by A.S.M Kobayashi & Scott Limbacher

This is a production of UnionDocs Center for Documentary Art. 

ARTISTIC DIFFERENCES is co-curated and co-organized by Cíntia Gil, Christopher Allen & Jenny Miller.

In our third episode, Artistic Differences has invited Dora García to speak about her formidable film Si Pudiera Desear Algo (If I Could Wish for Something) which traces the contemporary resonances of the rich feminist legacy of Alexandra Kollontai, a prominent Marxist theorist, Soviet revolutionary, radical feminist, and sex activist that Garcia calls,“the holy patron of dissident sexuality”. García collaborates with r artist La Bruja De Texcoco who opens up pathways of liberation, gender fluidity and an inclusive feminism in her work as a musical performer.In García’s film, La Bruja sonically grounds documentation of the incredible feminist demonstrations that appropriated public space and public discourse across Mexico City in the last 5 years. 

Our hosts, Cíntia Gil (Independent Programmer) and Christopher Allen (UnionDocs Founder), came together with Dora García and talked through the many questions and thoughts that surfaced in our monthly cineclub and from viewing the film. 

Listen in to learn more about García’s expansive practice - one that hopes to think beyond individualistic, neoliberal conceptions of feminism. Her films urge us to recognize how a woman’s individual sexual emancipation, economic independence, and ways of opening up community beyond normative models of family are intertwined with more collective revolutionary struggles against capitalism and patriarchy.

The film is now streaming on the UnionDocs membership. We invite you to tune into this program and conversation!

And considering joining next month’s cineclub on the first Saturday of December. Sign up.

Thanks to our incredible team!

Editor: Rui Alves de Sousa

Music: Andres Simoes 

Production support: Tara Kesavan

Additional UnionDocs support provided by A.S.M Kobayashi & Scott Limbacher

This is a production of UnionDocs Center for Documentary Art. 

ARTISTIC DIFFERENCES is co-curated and co-organized by Cíntia Gil, Christopher Allen & Jenny Miller. 

Find more about ARTISTIC DIFFERENCES on our site: www.uniondocs.org/artistic-differences and become a member and join the club at membership.uniondocs.org. 

In our second episode, Artistic Differences has invited Declan Clarke to speak about his radically minimalistic and melancholic form of filmmaking that opens a maximal poetic potential for representing histories economic, political, ideological, affective and material. 

Our hosts, Cíntia Gil (Independent Programmer) and Christopher Allen (UnionDocs Founder), together with those who joined our monthly cineclub, surfaced questions about Clarke’s idiosyncratic filmmaking; first considering the ruminative Saturn and Beyond (2021), which looks to a history of connective technologies, the neurological decline of Clarke’s father and the history of the Irish Museum of Broadcasting; and then diving into Group Portrait With Explosives (2014), which traces an almost imperceptible link between the former country of Czechoslovakia and South Armagh in Northern Ireland through the vagaries of industrial manufacturing and international trade.

Both films are now streaming on the UnionDocs membership. We invite you to tune into this program and a conversation that probes the intriguing challenges that Clarke’s work proposes— a kind of ordering, labeling and diagramming that might allow for alternative accounts of human existence.

Watch Declan Clarke’s film on our membership, and join next month’s cineclub Oct. 5th!

Thanks to our incredible team!

Editor: Rui Alves de Sousa

Music: André Simoes 

Production support: Constanca Pinelo, Tara Kesavan

Additional UnionDocs support provided by A.S.M Kobayashi & Scott Limbacher

This is a production of UnionDocs Center for Documentary Art. 

ARTISTIC DIFFERENCES is co-curated and co-organized by Cíntia Gil, Christopher Allen & Jenny Miller. 

Find more about ARTISTIC DIFFERENCES on our site: www.uniondocs.org/artistic-differences and become a member and join the club at membership.uniondocs.org.