Perséphone

Pip Chodorov's "Charlemagne 2: Piltzer" is a tour de force of hand-processed film which documents a Palestine piano concert. Chodorov uses flicker, negative/positive imagery, different printing techniques and colored filters to produce a film that is a true merging of sound and vision. - Frequent Small Meals

A vlogger whose life is seemingly controlled by an unknown presence begins to spiral as he falls further into surrealism and imaginary worlds.

A young woman goes on a cathartic journey through memory and imagination inspired by the performers at an open mic.

A half-hour experimental film that shows Fukui moving towards cyberpunk imagery in a manner similar to Tsukamoto, featuring industrial locations, a malfunctioning cyborg/android and a hulking metallic ‘caterpillar’ that stalks characters.

El Retiro

A son finds himself suspended in time, haunted by a presence that seems both familiar and distant. As he navigates a looped reality from a single point of view, fragments of memory and emotion begin to surface, hinting at something deeper left unresolved.

An experimental documentary looking at the transgender experience around the world over two hemispheres, three continents and with four interviewees. The film employs limited B roll shots or edits during the interviews, instead opting to have the interviews mostly uncut, with the goal of creating both a level of sincerity and a conversational narrative between any one of the interviewees and the audience.

An artist holds a pen on paper and slowly starts drawing the line. The line gradually increases its pace, leading to curves, reversions, curveballs, and inconsistencies. As the artist nearly finishes, the artist lifts the pen to show the entire drawing. The artist slowly returns to drawing and continues the following chapters of life.

An inspiring 75min DIY documentary film on new art and the young artists behind it. It was all filmed on the heat of live action of the first NOVA Contemporary Culture Festival, July and August 2010 in São Paulo, Brazil.

Inside a computer a space-time is revealed in which image and sound become numbers and motion manifests as rhythm, flow and chaos. This tracking and integration experiment removes the superficial identity of video to detect kinetic disturbances in everyday environment.

Matarile

A psychedelic animation that starts with an irregular ink spread and develops while increasing the degree of confusion.

Fragments from Brussels, about the flow of the city, A cinema, A body, A film, and a wind that blows through the town. The film is a Schizomentry experience that blends real stories and fiction. After all, where is the border?

A hearse cruises the streets of Medellín, while a young director tells his story in this city marked by conflicts, violence and paradoxes. He remembers his childhood and the discovery of his sexuality.

Film by Paul Clipson. Music by Jefre-Cantu Ledesma.

An anthropomorphic creature has trouble sleeping.

"Piano Dance shows the viewer a shadowy piano accompanied by the sound of piano music. The piano is then seen to be a toy, the headdress of a woman with hollow eyes and a pasty face who moves like a marionette in a weird dance. She is dressed as if she were a cabaret performer in black tie and tails and white gloves. The images whirl and the piano is both large and small as the camera sees it in varying scale. The protagonist does not appear to move of her own volition but by the will of another. Her dance fades, not because it is over but because we are no longer privileged to see it. One feels that it continues eternally." — Barbara Sharres, "Trance Occurrences," Chicago Reader, January 15 1982.

Alinur, a student filmmaker, tries to make a film about the apocalypse for his capstone project. The movie itself happens to be about a mercenary named M who inadvertently causes an apocalypse. As he tries to “create” the destruction of this supposed apocalypse through utilizing technical gimmicks that he has enforced onto the production of the film, this supposed effort also creeps in as a force that starts to “destroy” him, piece by piece. The outcome of it tests the sincerity of not only the film itself but also of the performative efforts that Alinur has made as a filmmaker—even this test might not be as sincere as it seems.

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?

a raw descent, billowing fast & spun 'til the time we'll force the soil to swallow ourselves: too far gone, & no backwards to safety. only spirals of wasted water down dirty, half-clogged drains, razed by fates written for us in cold ash by the bones of ancient smokestacks.