Part of the anthology Kleine Blumen, kleine Blätter (Little Flowers, Little Leaves), “Am Meer is a sublime example of the artist’s rhythmic filmmaking” that “combines the fleeting nature of looking with the idea of the caméra-stylo” (María Palacios Cruz).  (1995, 3 minutes)

“After the death of my parents,” Aurand noted, “I stood as an adult in the midst of childhood feelings.” The film is “a gentle, generous, and unsparing portrait of the filmmaker’s parents, whose passing is marked by remembrance and the loving recording of them” (Andréa Picard). (2009, silent, 15 minutes)

A group of elderly ladies play bridge, followed by storms raging along the coast of Cape Cod. Set in New England, with music by Etienne Grenier. (2016, 4 minutes)

“The postcard still on sale for tourists in Chile pictures three women of the extinct Selk’nam tribe in Tierra del Fuego. In the film, the journey of the three women traces the path their compatriots may have taken through London on promotional tours for human zoos at the end of the 19th century. The three women walk through a botanical garden and the streets of London, mingling causally with other tourists. An ongoing project that I started in 2005, Envíos consist of 16mm films that I send to people as letters. Creating and dedicating an Envío is a personal and intimate act which is subsequently presented to the public” (Muñoz). Packaged in small cardboard boxes, Muñoz’s transmissions include a film reel or photography and text. (2010, silent, 3 minutes)

“Archival images sometimes seem like faint echoes of history. This film is a personal journey,  reverberating with invisible yet persistent traces and layers: there are echoes of Kawéskar natives from Tierra del Fuego, photographed in Berlin in 1881; a Greater Rhea (flightless bird) from Tierra del Fuego at Berlin Zoological Garden; and bathers in the monument of Fuente Alemana (German fountain) in Santiago de Chile” (Muñoz).  (2012, silent, 12 minutes)

“A closeup shows three pelicans at their daily routine of cleaning and preening themselves after fishmongers toss them the remains of filleted fish. A second view ignores the birds and shows the surroundings with no narrative and no visual hierarchy. Puchuncaví is a film project, a collection of fragments, that I started filming in 2014. The name of this former Native American site, on the Pacific Coast of Chile, is a Mapudungún word that might be translated as ‘where fiestas abound.’ This stands in sharp contrast to the more recent industrial development of the area, which includes copper refineries, steam power plants, and a shipping port” (Muñoz).    (Begun in 2014 and ongoing, silent, 3 minutes)

“Under the spell of Cathy Berberian’s voice, with scraps of melodies and poems in my head in love with spring and summer’s flowers I walked through streets and gardens, pastures, fields, and forests, and by the end of that summer in 1995 I had a little film which ends somewhat melancholically with some chords of Gustav Mahler's ‘Traveling Journeyman’s Songs’”(Sami).

Rose is part of the Little Flowers, Little Leaves project organized in 1995 by Aurand, who invited 10 friends to share a short film. (1995, 4 minutes)

“This film was produced to be included in a compilation of films against the construction of atomic bombs and nuclear powerplants. Some trees and bushes, a clearing. A young man tries to wrap himself in foil, and a girl who sings about love accompanies herself on a children’s bandoneon” (Sami). (1983, 8 minutes)

Perceptions of a visit. (2018, 3 minutes)