Change Your Image
elena_gallen
In the interplay between artistic and commercial work, often cross-pollinating creative fields, she led projects for CANADA, Universal Music or Tourmalet Films; Reebok, CAMPERLAB by Camper, Meliá Hotels International or 080 Barcelona Fashion as production designer, art director, screenwriter and filmmaker. Excelling for creating thought-provoking still and moving images and deeply tied to the art and fashion industries, her gaining national and international recognition resulted in sponsorships and image campaigns.
Gallen was a judge to prestigious ADG Laus Awards in 2013. And for four years, a Fashion Communication Masters professor at Istituto Europeo di Design (IED). Moreover, she has lectured about her own practice and the work of kindred-spirit contemporary artists & filmmakers at cultural centers La Casa Encendida, CentroCentro or Fundación Mapfre, as well as co-curated exhibition Girls! Why did you decide to start a band at MUSAC Contemporary Art Museum of Castille & Leon, reflecting on the roles of women within the cultural and musical industry back in 2016.
Her writing is best known for the recent release of her first non-fiction book, El Diablo es una mujer/The Devil is a woman (Lunwerg, 2021), which restores the myth of the femme fatale, reexamining Lilith to Mata-Hari, Hollywood pre-codes to 90s noirs, french horrortica to rape-and-revenge under a postfeminist and queer light. Gallen is currently developing a docuseries with CDMX-based production company Anónima Media, lead by actress, producer and activist Eréndira Ibarra (Matrix Revolutions, Sense8...)
Ratings
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Reviews
Gitarrmongot (2004)
Boring avantgarde jewel
Don't get me wrong, it's an interesting exercise for a debut if you consider the avant-garde use of a documentary-styled camera and the single shot scenes capturing completely unrelated events from afar. The film sugests Ostlund has a taste for vouyerism.
But the inexistent narrative would have benefit from taking the time to intercross stories or characters towards the end so that all the nothingness we've endured can lead us somewhere, but god no, it doesn't. Therefore you're left with the feeling of facing a long and dull videoartsy mockumentary piece, which I'm positive Ostlund himself is in a place to mock nowadays.