THE PROTAGONIST IN BRESSON'S FILM

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.

Six Hundred Seconds explores an impassive response to this question through an experimental short film.

Blue Sunshine is a meditation on grief. Through dreamlike images and fictional scenarios, the director dialogues with her past and present, reflecting on the loss of her mother, the complex relationship with her father and the thought of her own farewell.

“All that which in Picture is not of the body or argument thereof is Landskip, Parergon, or By-work” (Thomas Blount, Glossographia, 1656).

The first embodiment of (a) concept of structural activity in cinema comes in Kren's Bäume im Herbst, where the camera as a subjective observer is constrained within a systematic or structural procedure, incidentally the precursors of the most structuralist aspect of Michael Snow's later work. In this film, perception of material relationships in the world is seen to be no more than a product of the structural activity in the work. Art forms experience.

Exploring the conscious, the unconscious and the self, By Winds and Tides takes a deep experimental dive into the birth of an idea—how it takes shape, how it is released. An allegorical quest, the film combines images and words into a singular sigh.

For this film, Takashi Makino allowed himself to be inspired by the earth. In a never-ending stream of images, we recognize elements from the forest that he then reduces to an abstraction. The film came about as a classical composition in which the picture and the musical contribution of Jim O’Rourke link up seamlessly and lead the mood in turn. A sense of freedom is what predominates.

An intimate portrait of Salt Lake City and its surroundings. Shot on 16mm film.

Encruza Braziliensis

A photographer girl enters a street to take street photographs as usual and takes a few photos that she thinks are normal. When she washes the photos and hangs them, she sees that she is actually in one of the photos and goes in search of that person.

You find yourself in a foreign landscape. Two other people are on the horizon. Something about the world around you is off. It isn't long before something is released from a caged pit. There is limited time left as something ugly consumes the land around you. Is this Earth?

A being from the beyond returns to Chile in 2019, embodied in a worker who dreams of social upheaval. Viral videos intertwine with fiction to narrate the experiences of a polarized country that wanders between drama and absurdity, illusion and failure.

A funeral car cruises the streets of Medellín, while a young director tells the story of his past in this violent and conservative city. He remembers the pre-production of his first film, a Class-B movie with ghosts. The young queer scene of Medellín is casted for the film, but the main protagonist dies of a heroin overdose at the age of 21, just like many friends of the director. Anhell69 explores the dreams, doubts and fears of an annihilated generation, and the struggle to carry on making cinema.

Soundtracked by “Combustion 2” from the Cory Smythe album Smoke Gets In Your Eyes (2022), this video was assembled exclusively from film and television programs that feature the eponymous 1933 song written by Jerome Kern and Otto Harbach. From Judy Garland to Jerry Garcia, Mad Men to The Muppets, the composition has appeared ubiquitous for nearly a century. This case file of disparate specimens spanning across time and genre, linked only by their shared relationship to the song, was collected and processed through an imagined crime lab computer. The resulting montage reveals a chilling and surreal image of retrospective foreshadowing: despite our best efforts, kindling from the dawn of industrial mass production has now grown into a raging inferno. The world burns wildly out of control and yet the party goes on. What may be the last gasp of civilization is reflected through an archival hall of mirrors until the disco ball crashes to the floor, exploding in flames.

A short film by Bryce Hodgson.

History as immersion and dispersion in the fragments of the past, a visionary journey accompanied by the voice of Patty Pravo. Presented at the Taormina Festival '97.

An experiment in video and sound collage by John Ledingham and Liam McCarrell. Inspired by the novel "Libra" by Don DeLillo.

Now I shall sing the second kingdom there where the soul of man is cleansed, made worthy to ascend to Heaven. (Purgatorio: Canto I)

In this non-dialogue tale, taking place along the coast of Vietnam, a mermaid is rescued from the fish market by a fisherman. As the hero carries her back to the ocean, they are joined by two jolly seahorses. Upon her wake at the beach, the mermaid performs a sensual dance. But her joy is cut short: the waves have other plans.

A ritual of grids, reflections and chasms; a complete state of entropy; a space that devours itself; a vertigo that destroys the gravity of the Earth; a trap that captures us inside the voids of the screen of light: «That blank arena wherein converge at once the hundred spaces» (Hollis Frampton).