Formosa

Across the installation's multiple channels, the camera circles a group of artists as they sit together in a field eating, licking, and squeezing ripe tomatoes. Throughout the ever-changing scene, kisses, whispers, and caresses are shared with a casual, gentle intimacy that reflects interconnectivity and abundance. These queer and desirous exchanges constitute a portrait of collectivity wherein individuals come together as distinct parts of a whole.

Lake gazes down at a still body of water from a birds-eye view, while a group of artists peacefully float in and out of the frame or work to stay at the surface. As they glide farther away and draw closer together, they reach out in collective queer and desirous exchanges — holding hands, drifting over and under their neighbors, making space, taking care of each other with a casual, gentle intimacy while they come together as individual parts of a whole. The video reflects on notions of togetherness and feminist theorist Silvia Federici’s call to “reconnect what capitalism has divided: our relation with nature, with others, and our bodies.”

Mi pesadilla fue que me mataba la guerrilla

Memória de uma Criança Afogada

An experimental meditation on Times Square's marquees and iconic advertising that captures the concurrently seedy and dazzling aspects of New York's Great White Way.

A spectral first-person journey through Los Angeles layers the city across itself as our guide disassociates, giving way to an abstracted daytime ghost story following a woman's splitting of self and perception. ANGEL PROJECT continues.

Moving image artist Lily Alexandre forces herself to ask an unspeakable question: should trans people make ourselves disappear?

Discover the untold story of Pinball and Arcade in Australia in this heart-warming, and at times heart-breaking, nostalgic journey through the golden era of gaming.

Las Preguntas que Perdimos

A dare from Swedishllama (UrolithicOak)

You must once in a while uproot yourself from the daily routine to better see what doesn’t serve you anymore - not to run away from but to get closer to yourself.

A documentary featuring 30 Argentinian women aged between 4 and 80, sharing their stories of resilience, strength, and unique perspectives on womanhood through performance art.

A short film that follows key figures of the London kink scene on an exploration into BDSM and the notorious fetish event Klub Verboten. The film touches upon themes of psychology, trauma, LGBTQ+ rights and black representation.

The experimental documentary filmed at rescue centres in Prague and Vlašim refuses the anthropocentric perspective and views the world through the eyes of wounded animals. The term Animot was taken over from Jacque Derrida. While the French philosopher and deconstructivist uses the term to refer to everything animalistic and non-human, the film, on the other hand, uses intimate details to point out the proximity between human beings and animals. They are connected by their vulnerability, helplessness and mortality.

A quasi-documentary look at how certain things fit together. This film embraces an unhurried tempo.

An independent Brazilian band sets out on two international tours at different moments in time. Shaped by hardships and unexpected detours, the narratives intertwine, creating intense sensory experiences. Featuring footage captured by the band themselves, Between the Days is gueersh’s journey through South American underground.

As publicity for the exhibit Miró L’altre, organized by the Colegio de Arquitectos de Catalunya in 1969, the Board commissioned Pere Portabella to film Miró painting the “poster” for the exhibit on the ground floor windows of the building. Portabella was not interested in simply filming a testimonial documentary. However, he said he would do the film if after the exhibit Joan Miró himself, with the help of the cleaning staff erased his own painting. Joan Miró accepted the idea without a doubt. The complicity between the film maker and the painter is evident in the filming.

Old Tjikko: a 9.550 years old tree standing alone in the Swedish tundra. Surtsey: an island born only 63 years ago on the coast of Iceland. Lotus Gomeritus: the last and only known specimen of a plant species discovered in the Canary Islands. Through these three main subjects of observation, and many other images collected through a process that took over ten years, photographer Aleix Plademunt and filmmaker Carlos Marques-Marcet set up a meditation on how we construct our world through looking and the complex relationship between images and the spoken language.

This one is a collage of Hollywood melodramas of the 1950s and 1960s, filmed directly from the television set. The constantly recurring motifs of suspense and clichés of plot make it possible to move seamlessly among scenes from different films with different protagonists: uneasy sleep, getting up, listening at the door, turning on the lights, being startled, etc. In the montage, the movements and gestures of the actresses – stars like Lana Turner, Tippi Hedren, and Grace Kelly– seem choreographed and planned for each other. The soundtrack supports this effect with connecting passages of sound that imitate the stereotypes of the genre. The treatment concentrates the dramatic shift from the familiar to the eerie and shows how women become the victims of the voyeuristic glance of film.

"If it Won’t Hold Water, it Surely Won’t Hold a Goat" is an intimate meditation on the subversive nature of goats and their effect on the people who spend time with them. Centered on the story of the legendary Goat Man - a nomadic figure who spent most of his life walking the roads of Georgia with a wagon pulled by a herd of goats - this experimental documentary weaves together an interview with a goat farmer, footage of the daily rituals Johnson enacted with her own herd, and a poem about the Goat Man’s experimental and spectacular life.