Katalin Eszter Nagy

Katalin Eszter Nagy

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An unrivalled and highly elusive lone assassin, the Jackal, makes his living carrying out hits for the highest fee. But following his latest kill, he meets his match in a tenacious British intelligence officer who starts to track down the Jackal in a thrilling cat-and-mouse chase across Europe, leaving destruction in its wake.
Eszter Katalin

Eszter Katalin

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Under the Shadow of Azkorri 2021

Under the Shadow of Azkorri is a visual essay which investigates the spaces of images, departing from a photo taken on the beach of Azkorri (Basque Country). Questioning how a change of perspective might alter the sensibility towards an image, the video evolves around positioning a gesture encountered in the movie Még kér a nép (Red Psalm, 1972). The director subsequently encounters this gesture in a photograph of Russian LGBTQIA+ activist Yelena Grigoryeva. She explores that particular symbol by drawing lines to her own queer sexuality, to the aesthetic representation of communism, as well as to questions of dispossession and appropriation.
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Queer (Un)belongings N/A

A film consisting of interviews with seven artists who live in the Basque Country, identify as LGBTQ+ and are marked by different histories of migration. The project focuses on the intersections between queerness, artistic practices, and migrancy to create discourse on these issues in the Basque context and to break with linear and simplifying imaginations of belonging, be it in terms of gender, sexuality or geo-political territories.
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Arder en Deseo 2024

"Arder en deseo" is the result of a Super8 cartridge shot in April 2023 in Santiago de Chile, materializing three different desires for three different images: The first scene depicts "Plaza Dignidad" from various angles, the starting point of the Estallido social (lit. "social outburst") on October 18th 2019, the second is a quote of Hippolyte Bayard’s photographic self-portrait posing as a drowned man from October 18th in 1840 and the third one shows two empty chairs in connection with the first scene of the empty monument. In using the “obsolete” medium of analog film "Arder en deseo" creates a temporal anachronism, a technological ellipsis, in which memory, oblivion and disappearance enter into poetical dialogue fifty years after the Chilean coup d'état.