
Sound
Juli Saragosa, a multifaceted filmmaker and sound designer, embarked on her artistic journey driven by curiosity and experimentation. Juli graduated from Humber College’s Film and Television Production Program in 1996 and immediately began interning at the top-notch post-production sound facility, Tattersall Sound. Over the following 8 years, Juli gleaned valuable skills and knowledge in the post-production Film & TV industry of Toronto, working on feature films, TV series, and independent short films. She received an MPSE Golden Reel award for best sound editing on the mini-series “The Hunchback” in 1998, and a Gemini nomination for sound editing on the TV series “DaVinci’s Inquest” in 1999. Juli put the film industry on hold to pursue a Masters of Fine Arts at Simon Fraser University in 2004. After relocating to Berlin in 2009, began again creating sound design and montages for independent filmmakers. Her diverse background, from programming to celluloid film experiments, led to award-winning shorts showcased globally. She shares her expertise through teaching and community initiatives, advocating for independent filmmakers. Saragosa's commitment to interdisciplinary practice and community engagement defines her impactful presence in the cinematic realm.

A daring documentary delving into the experiences of a Ukrainian forced labourer in Germany during World War II, exploring themes of love, loss, and profound longing. When the filmmaker’s grandmother was 19, she was taken from Soviet Ukraine to Germany to work on a Bavarian farm under National Socialism. She had the luck and perseverance to survive the hardships of the forced famine in her homeland and forced labour in the new one. The stories of her everyday life – learning how to milk a cow, and falling in love – are interspersed with three generations of reflections on politics, longing, feelings of displacement and loss. Hand-processed black & white film, colour film, photographs and official documents create a montage of different perspectives. The hand-touch aesthetic combines with the acousmatic effect of disembodied voices, in this deeply intimate portrait obscured by memory loss, mistranslation, fear and trauma.

This Super 8 film was first presented as part of a ritual performance where Saragosa is naked and pulls a white piece of fabric out of her "yoni", pinning it up and projecting the film onto it in reverse, while speaking the words on the film. The performance was part of a collective recreation of Carolee Schneemann’s ‘Interior Scroll.’
A Super-8 short-film adaptation of S.E. Hinton's "The Outsiders" styled as a music video/silent-film -- director Juli Saragosa has a different take on greaser masculinity than did Francis Ford Coppola.

A long process of experimentation with a variety of different filmmaking techniques while examining an evolving queer identity. The film shows an emergence of the Pink Fairy. Part femme, part tomboy, part fairy, the characters come together to subvert the idea of a fixed identity. Luminescent imagery is imprinted by hand using hand-processed colour footage, optically printing Super 8 to 16mm, 16mm to 16mm, negative to positive, video to film, and repeating motifs, to explore the intricacies of the celluloid medium. Audio emotes through random manipulations in a Brion Gysin-like cut-up technique.
A Super-8 short-film adaptation of S.E. Hinton's "The Outsiders" styled as a music video/silent-film -- director Juli Saragosa has a different take on greaser masculinity than did Francis Ford Coppola.

This Super 8 film was first presented as part of a ritual performance where Saragosa is naked and pulls a white piece of fabric out of her "yoni", pinning it up and projecting the film onto it in reverse, while speaking the words on the film. The performance was part of a collective recreation of Carolee Schneemann’s ‘Interior Scroll.’

This Super 8 film was first presented as part of a ritual performance where Saragosa is naked and pulls a white piece of fabric out of her "yoni", pinning it up and projecting the film onto it in reverse, while speaking the words on the film. The performance was part of a collective recreation of Carolee Schneemann’s ‘Interior Scroll.’

A daring documentary delving into the experiences of a Ukrainian forced labourer in Germany during World War II, exploring themes of love, loss, and profound longing. When the filmmaker’s grandmother was 19, she was taken from Soviet Ukraine to Germany to work on a Bavarian farm under National Socialism. She had the luck and perseverance to survive the hardships of the forced famine in her homeland and forced labour in the new one. The stories of her everyday life – learning how to milk a cow, and falling in love – are interspersed with three generations of reflections on politics, longing, feelings of displacement and loss. Hand-processed black & white film, colour film, photographs and official documents create a montage of different perspectives. The hand-touch aesthetic combines with the acousmatic effect of disembodied voices, in this deeply intimate portrait obscured by memory loss, mistranslation, fear and trauma.

A daring documentary delving into the experiences of a Ukrainian forced labourer in Germany during World War II, exploring themes of love, loss, and profound longing. When the filmmaker’s grandmother was 19, she was taken from Soviet Ukraine to Germany to work on a Bavarian farm under National Socialism. She had the luck and perseverance to survive the hardships of the forced famine in her homeland and forced labour in the new one. The stories of her everyday life – learning how to milk a cow, and falling in love – are interspersed with three generations of reflections on politics, longing, feelings of displacement and loss. Hand-processed black & white film, colour film, photographs and official documents create a montage of different perspectives. The hand-touch aesthetic combines with the acousmatic effect of disembodied voices, in this deeply intimate portrait obscured by memory loss, mistranslation, fear and trauma.

A daring documentary delving into the experiences of a Ukrainian forced labourer in Germany during World War II, exploring themes of love, loss, and profound longing. When the filmmaker’s grandmother was 19, she was taken from Soviet Ukraine to Germany to work on a Bavarian farm under National Socialism. She had the luck and perseverance to survive the hardships of the forced famine in her homeland and forced labour in the new one. The stories of her everyday life – learning how to milk a cow, and falling in love – are interspersed with three generations of reflections on politics, longing, feelings of displacement and loss. Hand-processed black & white film, colour film, photographs and official documents create a montage of different perspectives. The hand-touch aesthetic combines with the acousmatic effect of disembodied voices, in this deeply intimate portrait obscured by memory loss, mistranslation, fear and trauma.

Set in the near future, a collective of queer-feminist superhero*ines make use of their different identities, backgrounds and experiences to fight back against sexual and gender-based violence – a fusion of science, technology, magic, and ritual. Clashes and conflicts arise as they negotiate and try to come to a consensus on their aim of disrupting toxic hierarchies. The project is currently in post-production.

Set in the near future, a collective of queer-feminist superhero*ines make use of their different identities, backgrounds and experiences to fight back against sexual and gender-based violence – a fusion of science, technology, magic, and ritual. Clashes and conflicts arise as they negotiate and try to come to a consensus on their aim of disrupting toxic hierarchies. The project is currently in post-production.

Set in the near future, a collective of queer-feminist superhero*ines make use of their different identities, backgrounds and experiences to fight back against sexual and gender-based violence – a fusion of science, technology, magic, and ritual. Clashes and conflicts arise as they negotiate and try to come to a consensus on their aim of disrupting toxic hierarchies. The project is currently in post-production.
