An artificial pigeon is shown in close-up from the side. It has grey plumage, a darker neck with a greenish sheen, and a striking red eye. The beak is light-colored with a white base. The pigeon is shown sitting upright and looking to the left. In the blurred background, diagonal light lines on a blue surface and large red letters can be seen, suggesting a billboard or signage.

Berlin-Premiere: Los Tres Puntos

with Ellinor Aurora Aasgaard & Zayne Armstrong

23 Feb 26, 7.00–9.00 pm

Film still from Los Tres Puntos, 2025.
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Los Tres Puntos celebrates its Berlin premiere with a screening in the presence of the cast and filmmakers Ellinor Aurora Aasgaard & Zayne Armstrong. A conversation afterwards will touch on the film’s satirical take on queer realities in Berlin —shaped by precarity, performance, and everyday negotiations of social hierarchies— as well as on the process of making the film and moments from the shoot.

In English spoken language.

Ellinor Aurora Aasgaard & Zayne Armstrong

 

Los Tres Puntos
SD Video, 45 Min., English, German, Spanish, 2025

There are English subtitles when German and Spanish are spoken.

 

Marlie, working the front desk of a Berlin hostel, hosts a rising astrology podcast called Astrosapiate. After dreaming of a threatening T-Rex, she becomes convinced a Capricorn will soon transform her life and her listener count. When an unstable caller named Celeb phones in, she exploits the drama for entertainment, only to realize she may have misread her dream entirely. A former guest she once misadvised returns to sue her and introduces a new form of neurodivergence: the ability to hear text-message “three dots” as they are being typed. The satirical melodrama explores how financial precarity pushes people into ethical gray areas, especially when confronted with forces that can literally read between the lines.

Ellinor Aurora Aasgaard & Zayne Armstrong formed their collaborative practice around making a serial ‘soap opera’ video project, called “Days”, which engages numerous other artists in its satirization of neoliberalism. The romantic tropes of the soap opera genre are adapted into docudrama-like stories about emotional, unpaid and abstract labour.

The image shows a close-up of a young woman. She has short, dark brown hair with a side-swept fringe. Her left ear is covered by a headset; a small microphone extends from her ear toward her mouth. She looks attentively and slightly tense to the left, as if reacting to something or someone. Her face is turned slightly to the side, making her features clearly visible. She has round brown eyes, a straight nose, and narrow, slightly parted lips. She is wearing a dark red blouse. In the background, a dark poster with white lettering and a stylized drawing of buildings is hanging on the wall. On the right side of the image, a large green leaf of a houseplant can be seen. The setting resembles an office or workplace, possibly a reception desk.
Film still from Los Tres Puntos, 2025.
The image shows the reception area of a hostel or hotel. At the center is a wide, light-colored wooden counter with a patterned front. Behind the counter sits a young woman with short dark brown hair. She is wearing a headset with a microphone and a dark red blouse. A lanyard hangs around her neck. She smiles kindly while looking at the computer screen in front of her. In front of the counter stands a young man with his back to the camera. He is wearing an olive-green jacket and a large black backpack over both shoulders. His body is slightly turned toward the receptionist. On the left side of the image stands another young woman behind or next to the counter. She has long dark hair and is looking downward. On the gray wall behind the reception desk hangs a large dark sign with white lettering that clearly reads “MAXIMAL HOSTEL.” Below it, in smaller letters, the English phrase “MAXIMIZE YOUR …” can be read; the rest of the text is partially obscured. In the right background, there is a large houseplant with broad green leaves.
Film still from Los Tres Puntos, 2025.
The image shows a young man with short light brown to dark blonde hair. His hair is cut straight and lies close to his head, with a blunt fringe across his forehead. His face is narrow, with pronounced cheekbones. His lips are closed, and his expression appears attentive and slightly tense. He is looking to the left side of the image. He is wearing a light beige trench coat with a wide collar, and underneath it a light blue shirt buttoned up to the collar. Between the camera and the person there is a pane of glass. Fine scratches, small cracks, or light reflections are visible on the glass, running across his face. On the right side of the image, a vertical dark door or window frame can be seen. Behind it lies a room lit with warm yellowish-orange light. At the far right edge of the image, a blurred finger or part of a hand is visible very close to the camera.
Film still from Los Tres Puntos, 2025.
An artificial pigeon is shown in close-up from the side. It has grey plumage, a darker neck with a greenish sheen, and a striking red eye. The beak is light-colored with a white base. The pigeon is shown sitting upright and looking to the left. In the blurred background, diagonal light lines on a blue surface and large red letters can be seen, suggesting a billboard or signage.
Film still from Los Tres Puntos, 2025.
Film still from Los Tres Puntos, 2025.
Film still from Los Tres Puntos, 2025.
Film still from Los Tres Puntos, 2025.
Film still from Los Tres Puntos, 2025.
Film still from Los Tres Puntos, 2025.