Vigiai e Orai - a cultura do medo no Brasil

Hansjürgen Pohland's short documentary is an audiovisual study that captures events and people on the streets on film. The special feature of the work is that the people and objects are portrayed exclusively through their shadows.

Hit Him on the Head with a Hard, Heavy Hammer departs from the handwritten memoir of the filmmaker’s father and his experience of displacement during wartime. Referring to the notion Thomas Hardy termed ‘The Self-Unseeing’ in his eponymous 1901 poem, the film returns to childhood and the matters that harden us: upbringing, social status, education, labour, and familial bonds. The memoir weaves into the film as both a contemplation on mortality and an illustration of fading memory, reflecting on how we pen our pasts and how they can be re-told.

A 16mm experimental short film loosely following a cormorant as it attempts to dry its wings.

Juan Méndez Bernal leaves his house on the 9th of april of 1936 to fight in the imminent Spanish Civil War. 83 years later, his body is still one of the Grass Dwellers. The only thing that he leaves from those years on the front is a collection of 28 letters in his own writing.

In a dreamlike journey through the memories that formed him, Sergio's past comes to life before his eyes. With his grandparents' house in ruins as a vehicle of memory, he will question his first 10 years of life and why he considers them his Prelude, the foretaste of what his life and work would become. Among ghosts, he will have to make peace with his memory, his reflection and his name to find the color among the ashes and stop fearing the future.

After the death of my only brother I found rolls of undeveloped film. This documentary is a reenactment of those stills and an exploration of the aspects of my brother's life that I didn't know.

A documentary short created by Olivia Lancaster while moving into a new home, 08/31/23.

Por Trás do Congá

A reframing of the classic tale of Narcissus, the director draws on snippets of conversation with a trusted friend to muse on gender and identity. Just as shimmers are difficult to grasp as knowable entities, so does the concept of a gendered self feel unknowable except through reflection. Is it Narcissus that Echo truly longs for, or simply the Knowing he possesses when gazing upon himself?

Memory is a collaboration with musician Noah Lennox (Panda Bear), exploring the relationship between a musician and filmmaker and their personal reflection on memories. From Super 8 home movies and entirely handmade, this film explores familiar memories, the present moment combined with past experiences and how it all seems to evade from our present memory.

A young woman is fed up with the usual consumer's television and begins to make her own television, or more correctly, closevision. She is now a reporter who wanders around Berlin with her camera and 'telecasting apparatus' on her back. Her livingroom has been transformed into a studio and here the different programs are assembled and aired: statements, interviews, realistic and phantastic programs.

The word kewaaj (কেওয়াজ) is colloquially used to explain chaos, noisiness or annoyance. "Kewaaj" is an audiovisual attempt to give you a glimpse into how the people of Dhaka function in one of the most unliveable cities, according to the Global Liveability Index. Dhaka is fast, dense, intense. Yet the people try to find their peace in it.

A spate of robberies in Southern California schools had an oddly specific target: tubas. In this work of creative nonfiction, d/Deaf first-time feature director Alison O’Daniel presents the impact of these crimes from an unexpected angle. The film unfolds mimicking a game of telephone, where sound’s feeble transmissibility is proven as the story bends and weaves to human interpretation and miscommunication. The result is a stunning contribution to cinematic language. O’Daniel has developed a syntax of deafness that offers a complex, overlaid, surprising new texture, which offers a dimensional experience of deafness and reorients the audience auditorily in an unfamiliar and exhilarating way.

Arktis is a poetic approach to the bizarre landscape of ice, rock, and water; a journey to the arctic ocean and surroundings, with images and sounds. Seventy one-second scenes of the arctic serve as the original material, which is then transformed in its texture, time lapse, color and light qualities to create a material reminiscent of landscape painting. The sound collage uses fragments from sounds of nature and samples from a piece of music for violin and song, which are also transformed in a manner similar to that of the visual pictures. (Jürgen Reble)

An atmospheric journey, following the unstoppable forces that shape this world. A story beyond humanity.

Cartas de Arapuca

In Untitled (Pink Dot), Murata transforms footage from the Sylvester Stallone film First Blood (1982) into a morass of seething electronic abstraction. Subjected to Murata's meticulous digital reprocessing, the action scenes decompose and are subsumed into an almost palpable, cascading digital sludge, presided over by a hypnotically pulsating pink dot.

Do Lado de Fora

A poetic story of a proletarian couple’s relationship during the years of economic crisis and unemployment – of all the films directed by E. F. Burian, the film Chceme žít (We Want to Live, 1949) is probably his worst. The intention to create a powerful work of cinema that would combine modern means of expression with the ideological canons of socialist realism failed completely. Ježek and Tarnovski discovered these „shambles“ and tried to rebuild a structure out of the hopelessness and futility of life. Ježek has photochemically “transcribed” selected passages with the greatest possible degree of humility towards the work of the great avant-gardist, Tarnovski similarly makes the soundtrack visible. The improvised encounter of sound and image in dialogic mode can lead to various misunderstandings resulting in ambiguous compromise.

Sabine is looking for a missing image: a day that has left its mark forever and that everyone remembers but her. But maybe this absence is what allows her to move on with her life?