A band of feminist warriors takes refuge in an abundant Puerto Rican landscape in Beatriz Santiago Muñoz’s feature-length film. Following the artist’s friends and collaborators in and around San Juan in the wake of Hurricane Maria, Oriana takes inspiration from Monique Wittig’s 1969 novel Les Guérillères, which envisions the aftermath of a violent war of the sexes in a future where women have toppled the patriarchy. In a filmic space of everyday survival and collective invention, Oriana is less a speculative vision about what might be and more a provocation of how other futures are actualized in the present. 2022, US, DCP, in Spanish and Portuguese with English subtitles, 78 min.
A conversation with the artist follows Saturday’s screening.
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Beatriz Santiago Muñoz (U.S., b. 1972) lives and works in San Juan, Puerto Rico. Her work arises out of long periods of observation and documentation, in which the camera is present as an object with social implications and as an instrument mediating aesthetic thought. Her films frequently start out through research into specific social structures, individuals, or events, which she transforms into moving image, at times supported by objects and texts. Santiago Muñoz’s recent work has been concerned with post-military land, Haitian poetics, and the sensorial unconscious of anti-colonial movements. Recent solo exhibitions include Song, Strategy, Sign at the New Museum, A Universe of Fragile Mirrors at the Pérez Art Museum of Miami, MATRULLA, Sala de Arte Público Siqueiros, México City; Post-Military Cinema, Glasgow International; The Black Cave, Gasworks, London. Her work is included in public and private collections, such as the Whitney Museum, Solomon R. Guggenheim Museum, and Kadist.