Film Futurism

unitednotions.film

Film futurism moves beyond fixed narrative into living systems of cinema. It brings together AI, robotics, game mechanics, and immersive environments such as AR, VR, MR to create stories that respond, adapt, and evolve in real time.

Rather than unfolding in a predetermined sequence, these works shift through interaction, allowing characters, spaces, and emotional arcs to change as audiences engage with them.

The result is a form of storytelling where the viewer is no longer only watching, but participating in the construction of the experience itself.

United Notions Film is proud to announce that Las Awichas, a mixed-reality installation by Violeta Ayala, has opened at the Guangdong Museum of Art as part of SURREALITY, a major art and technology exhibition developed by the Center for Metaverse and Computational Creativity (MC²) at HKUST (Guangzhou), led by Professor Pan Hui.

Working at architectural scale, Las Awichas brings together body, space, and ancestral memory through mixed reality. The installation creates a dialogue between AI-generated Andean grandmothers and visitors, exploring how emerging technologies can coexist with Indigenous epistemologies without extraction or translation into dominant frameworks.

The project began in 2020 as a deeply personal work. “AI-collaborative art is giving me a possibility to imagine my culture in a different light,” Ayala wrote at the time. “As a Quechua creator and filmmaker whose civilization was destroyed by colonizers, I really cherished the opportunity to imagine my ancestors.”

What started as digital portraits of female ancestors—rooted in Ayala’s grandmother Herminia Soto Montaño—evolved into something larger: robotic animals inspired by Nazca lines, carrying forward ancestral dialogue into new forms. The work operates through ch’ixi logic (Silvia Rivera Cusicanqui): different ways of knowing held in productive tension, not synthesis.

This installation continues UNF’s exploration of Neo Andean Futurism, following Prison X and other projects that challenge extractive approaches to Indigenous knowledge and technology.

Las Awichas is now on view at the Guangdong Museum of Art through 15/2 - 30/3.

NEWS + EXPERIENCE

On New Year’s Eve we launched our own streaming release inside The Bolivian Case website.

theboliviancase.com

A TV series dropped in Norway and suddenly the story we documented was circulating in a new shape, missing key elements. The full story needs to be told properly, with context, from the people who still live it.

We didn’t wait for distribution. We built it.

Everything is made in-house: platform, player, hosting, payments, delivery pipeline. Decentralized, resilient, and coded by us. Built so the film could live on its own terms.

Next: Sala.video

A curated platform releasing 12 films a year, starting with our United Notions Film catalogue. We’re also opening up the infrastructure supporting other filmmakers to host directly on their own sites using our tech, keeping control of audience, pricing, territories, and release strategy.

In two weeks, it proved the model.

And this is only the beginning. Sala.red will expand into XR and spatial computing across AR and VR.

Watch now: theboliviancase.com

Sala.video soon.

Built by award-winning filmmakers and technologists: Violeta Ayala and Dan Fallshaw

Todo nace desde lo pequeño. Everything begins small.

The performance was fleeting and amazing.

It began as a way of VJ-ing for the afterparty, only I was doing it live, in real time, chixi all the way. Dan was on the camera, sending me streams through IoT, and I was transforming everything, fully concentrated.

By the time the performance began, the space was overflowing. What seemed impossible became one of the most futuristic performances in the world. From past to future, we shaped a vision of Neo-Andean Futurism. The interfaces were ours, the AI model was local, and our community center — El mARTadero — became our nest, re-imagined as the future. Music composed by Yasmeen Hitti with Dan’s remix. Breakdancers; impossibly talented.

Our instrument:

• Visual generation (StreamDiffusion, dynamic prompts, ControlNet)

• Temporal stability (seed noise, V2V cache, feature injection)

• Embodied input (body, breakdance, camera/sensor data)

• Performative output (TouchDesigner, projection, sound sync)

From the south of the world, we are shaping our own cinema, our own experiences, our own narratives.

Those who control the systems of distribution control the future, but we have community, and we hold it in our hands.