Catalogue > List by artist

A group of men is fixing their eyes onto the sky. High above, a swarm of pigeons is moving in an unrecognizable formation, when suddenly individual birds drop in mid-air, spinning backwards with their wings extended and tumbling down in a circular motion before resuming their ordinary flight path. Yalda Afsah’s short film SSRC slowly dissects this aerial choreography, revealing its nature as a form of animal training and gradually zooming into the at times almost intimate details of this interspecies relationship. Focusing on the specific social context of the Los Angeles-based „Secret Society Roller Club“ and its members’ identification with and through the animals, Afsah’s film negotiates positions of co-dependency and care, domestication and dominance – calling into question the ambivalence reflected in the symbol of the soaring bird free in its flight, yet simultaneously bound to human will.

German-Iranian artist and filmmaker Yalda Afsah (b. 1983, Berlin) explores how space can be cinematically constructed as her films profoundly explore the interface between reality and staging. This formal characteristic of Afsah’s work is conceptually mirrored in her recent portraits of human-animal relationships that reveal an ambivalence between care and control, physical strength and broken will, instinct and manipulation. Despite their documentary focus, her films and video installations seem to capture symbiotic choreographies on screen – equally portraying and fictionalising their human and non-human protagonists. Afsah has presented her work at various exhibitions and festivals including Manifesta 13, Locarno Film Festival, New York Film Festival, Berlinische Galerie, Institute of Contemporary Arts London, Neuer Berliner Kunstverein and recent solo exhibitions at Kunstverein München and Halle für Kunst Steiermark. Since 2019 she is a mentor for the Berlin program for artists (BPA).

Named after its setting, the French river Vidourle, Yalda Afsah’s film documents a strange and subtly unnerving choreography, capturing a group of young men performing what could be a ritual, a spectacle, a game, or a fight. In their collective movements as well as individual moments of concentration, anticipation and occasional forlornness, the adrenalin-fuelled adolescent protagonists seem to embody the frailty of the human condition awaiting an environmental change, much like an unexpectedly forceful current in a river.

Yalda Afsah explores how space can be cinematically constructed and the documentary character of her works often veers towards forms of theatricality. This formal characteristic of Afsah’s practice is conceptually mirrored in her documentary portraits of human-animal relationships that reveal an ambivalence between care and control, physical strength and broken will, instinct and manipulation. Afsah seeks to question and to dissolve these dichotomies, while carving out a space to reflect on the possibility of an overarching empathy between species.

The short movie Tourneur documents a bull fight in the South of France and comments in a subtle manner the disparity between the young, adrenaline rushed participants and the physically superior bull, which gets cornered by the participants. The unpredictability of the situation is increased by foam, which affects the view of the participants and the audience therefore, the encounter of humans and animal seem like an alienation in this abstract landscape of foam.

A moment of exposure is about observing the experience of living an idea and gathering materials for an art installation. The camera, as an attentive observer, collects memories and associations related to the "Safe & Sound" multimedia interactive exhibition. Following the process of preparation, presentation, and dismantling of the installation, we seek visual and sensory origins. In the first part of the exhibition, a spatial arrangement features elements such as metal fence sculptures, archived photos of fences in graveyards, and videos of deceased creatures floating in water. These elements are gently dissected to uncover the roots of safety and any remnants of movement left after death. In the second part, different sounds can be heard by interactive audiences resting in bed-shaped sound boxes, prompting questions about the origins of these sounds. Each sound carries the weight of a past incident, reverberating in the space and creating an immersive experience. Ultimately, the film invites viewers to reflect on the connections between memory, loss, and the lingering echoes of life. It encourages an exploration of how we find safety in remembrance and the ways in which our past shapes our present.

Mahshid Afzali: Mahshid Afzali is an Iranian Video Artist and Filmmaker, based in Tehran. She graduated from University of Tehran with a B.A. degree of Scenic Design in 2018. Throughout her studies, she developed a passion for video art as a medium for self-expression. In the past few years she specialized in independent film production and post-production and created several documentary films and videos. Mahshid is also an archivist, and documents her life through videos and photographs that often serve as the foundation for her artworks. / Mahoor Mirshakkak: Mahoor Mirshakkak, Iranian freelance Filmmaker & Sound designer. Graduated in Painting from Tehran Fine Arts University. Currently Working on Multidisciplinary installations Based on Archived sound and videos.

“Fata Morgana” is a critical vision of a mega-project of infrastructure, an interoceanic channel crossing the entire country that is going to be built in Nicaragua by the transnational Chinese enterprise HKND. The negative impact over the local population and the environment represents a real danger for their sustainability. Thousands of citizens from the affected areas have protested against this project, which was approved without their consideration. “Fata Morgana” is an optical illusion where one perceives objects floating on the horizon, such as cars on a highway or ships at sea; we´re playing with such symbols in this drawn stop motion animation.

Marcos lives and survives in Managua, Nicaragua. He trained as an architected at the National Engineering University in Managua (1995-1999) and later specialized in the field in Barcelona with an emphasis on urban planning and sustainable tropical architecture (2005-2009). In 2006 he won the II Exhibit of Emerging Art in Central America organized by the Museum of Contemporary Art and Design in San José, Costa Rica and in 2008 he won first place at the VI Central American Visual Art Biennial. His pieces have been exhibited in the Latin American Pavilion at the Arsenale during the 55th International Art Exhibition in Venice, Italy (2013), the García Lorca Great Theatre of Havana during the 11th Havana Biennial (2012), New York?s Museo del Barrio as part of the ?The Street Files? exhibit (2011), Santo Domingo?s Museum of Modern Art during the I Caribbean International Triennial (2010), in two editions of the Central American Contemporary Art Biennial (Tegucigalpa 2008 and Managua 2010) as well as in several editions of the Nicaraguan Visual Art Biennial Fundación Ortèz-Gurdión (2005, 2007 and 2009), with mentions in 2007 and 2009. He has appeared in magazines like Exit-Express (Spain), Código (México) and ArtNexus (Colombia) and in anthologies like Us and Them, Young Ibero-American Artists (2010).

"Signs Of Stillness Out Of Meaningless Things" Sandro Aguilar Une comptine : « Quand les braises où les étincelles du feu atteignent la marmite d?eau, cela signifie qu?il vente... » Et toujours ce climat mystérieux qui hante toute l?oeuvre de Sandro Aguilar.

Full Moon. Inside. Perhaps not alone.

Born in 1974 in Portugal, Sandro Aguilar studied film at the Escola Superior de Teatro e Cinema. In 1998, he founded the production company O Som e a Fúria. His films have won awards at festivals such as La Biennale di Venezia, Locarno FF, Gijón, Oberhausen,Vila do Conde, Indielisboa FF and have been shown in the most relevant film festivals worldwide. Two times nominated for the EFA – Best European Short Film Award. Retrospectives of his work have been programmed at Rotterdam IFF, BAFICI, New York Film Festival, Arsenal-Berlin and Oberhausen FF. In 2013, he was invited into the renowned DAAD Artist Residency, Berlin.

A young girl spending time with her parents (a swinger couple) in a camping site meets an emotionally unstable recruit and becomes fascinated by his special powers. He falls in love with her, but he soon finds out his love is unrequited.

Born in 1974 in Portugal, Sandro Aguilar studied film at the Escola Superior de Teatro e Cinema. In 1998 he founded the production company O Som e a Fúria. His films have won awards at festivals, such as La Biennale di Venezia, Gijón, Oberhausen and Vila do Conde, and have been shown in Torino, Belfort, Montreal, Clermont-Ferrand among others. Retrospectives of his work have been programmed at Rotterdam IFF and BAFICI.

Paulo works as a night guard in a building site. He lost his daughter in dramatic circumstances and no regret would ever give him a sense of closure . He often sleeps in his lover`s house where he witnesses the repeated transgressions of an unstable neighbor. Everything threatens to crack.

Born in 1974 in Portugal, Sandro Aguilar studied film at the Escola Superior de Teatro e Cinema, in Lisbon. In 1998 he founded the production company O Som e a Fúria. His first fiction feature film was UPRISE (2008). MERCURY (2010) was in competition for the Tiger Awards for Short Films at IFFR 2011. His films have won awards at festivals, such as La Biennale di Venezia, Gijón, Oberhausen and Vila do Conde, and have been screened in Torino, Belfort, Montreal, Clermont-Ferrand among others. Besides being a director, Aquilar is an editor and a producer. MARIPHASA is his second feature film.

Before and after that second kiss.

Born in 1974 in Portugal, Sandro Aguilar studied film at the Escola Superior de Teatro e Cinema. In 1998 he founded the production company O Som e a Fúria. His films have won awards at festivals, such as La Biennale di Venezia, Gijón, Oberhausen and Vila do Conde, and have been shown in Torino, Belfort, Montreal, Clermont-Ferrand among others. Retrospectives of his work have been programmed at Rotterdam IFF and BAFICI.

Oscar, a renowned hypnotherapist, takes advantage of the last moments in his hotel room to say goodbye to the dazzling Mercedes and relieve old Norberto of his sorrows

Born in 1974 in Portugal, Sandro Aguilar studied film at the Escola Superior de Teatro e Cinema. In 1998, he founded the production company O Som e a Fúria. His films have won awards at festivals such as La Biennale di Venezia, Locarno FF, Gijón, Oberhausen,Vila do Conde, Indielisboa FF and have been shown in the most relevant film festivals worldwide. Two times nominated for the EFA – Best European Short Film Award. Retrospectives of his work have been programmed at Rotterdam IFF, BAFICI, New York Film Festival, Arsenal-Berlin and Oberhausen FF. In 2013, he was invited into the renowned DAAD Artist Residency, Berlin

Hidden memories and lost treasures of our primeval inhabitants.

Born in 1974 in Portugal, Sandro Aguilar studied film at the Escola Superior de Teatro e Cinema. In 1998 he founded the production company O Som e a Fúria. His films have won awards at festivals, such as La Biennale di Venezia, Gijón, Oberhausen and Vila do Conde, and have been shown in Torino, Belfort, Montreal, Clermont-Ferrand among others. Retrospectives of his work have been programmed at Rotterdam IFF and BAFICI.

Before the assault, feel the weight of the body.

Born in 1974 in Portugal, Sandro Aguilar studied film at the Escola Superior de Teatro e Cinema. In 1998 he founded the production company O Som e a Fúria. His films have won awards at festivals, such as La Biennale di Venezia, Gijón, Oberhausen and Vila do Conde, and have been shown in Torino, Belfort, Montreal, Clermont-Ferrand among others. Retrospectives of his work have been programmed at Rotterdam IFF and BAFICI.

All sympathetic magic is based upon two principles: the first called the Law of Similarity says that likes produce likes, or that an effect resembles its cause; the second, called the law of contagion or contact says that all things having been in contact with each other continue to react upon one and another at a distance even after they have been severed or disconnected. A fearful man meets a disquiet woman. Do you believe in magic?

Born in 1974 in Portugal, Sandro Aguilar studied film at the Escola Superior de Teatro e Cinema. In 1998 he founded the production company O Som e a Fúria, which has been since then one of the most prominent Portuguese production structures, recognized by the long list of films, produced within its tutelage, that are selected and awarded at the most prestigious internacional film festivals. The short films directed by Sandro Aguilar have won awards at festivals, such as La Biennale di Venezia, Locarno, Vila do Conde, and have been shown in Rotterdam, Belfort, Montreal, Clermont-Ferrand among others. He has also directed a feature film in 2008, entitled A ZONA.

Have you ever wondered what the company of a virtual friend would be like? When Elisabeth Vogler loses her voice in full flow whilst performing Electra she was not to know that it had been stolen from her by Alma, who would be her alter ego in the tortuous process of recovery. They both move to a house by the sea so that Elisabeth can get her voice back and recover her identity. A split search for identity in two characters who progressively fuse into a single person. Dialogue-monologue acts as a precarious vehicle for the longed for encounter that awaits them. This is Ingmar Bergman´s "Persona", a film that defines cinema and left its mark on Oriol, the protagonist in "Easyfriend". "Easyfriend" comes out of the search for identity through conversation. The user does not define his identity or decide on how he wishes to be shown to others. The project uses Artificial Emotional Intelligence to generate dynamic virtual identities. The user, on entering for the first time, projects his desire, what he expects from a relationship: friendship, love, sex, etc. When he shapes the identity of his virtual friend, in a psychoanalytic process, he constructs a future, expectations, an experience. From that point on, he will be able to deal with the relationship as his will dictates: he can hold onto it or forget it. His virtual friend will remain active so long as the relationship exists and provides him with conversation. When the creator stops communicating, his robot becomes inactive. What their desire craves is not a conventional relationship, but a situation that favours them and responds to their needs as incomplete unstable individuals. In this sense, "Easyfriend" is a hybrid project between cinema and net.art, exploring Internet narrative. Oriol is an artist who works with video and comes to the city to exhibit his work at a festival. As soon as he arrives, he turns up for an interview with Laura, an art journalist. The conversation starts moving and everything goes awry. She savagely attacks his work, accusing him of having a distanced perception of art, while he sees in her the reminder of a past relationship that he has not managed to get over and which has marked his life. Once this interview has taken place everything moves very fast. They each approach the relationship with different intentions and the ensuing confrontation sparks off a flurry of events that they both have to face head on. The narrative does not unfold sequentially: rather, it happens abruptly. The story can begin in the middle in order to advance, and then start off again at another point. The variants are infinite. The user will have to constantly go forwards and backwards in an action that requires him to take the initiative so as to understand the logic in the scenes. For this purpose he will be furnished with various tools designed so that he can use this narrative experience. At a particular point in the narrative, the two ways of experiencing "Easyfriend", the robot population, and the fictional plot, inevitably intersect, never to be separated again. Conversation with the easybot becomes a new narrative mechanism, at the user's disposal, where the flow of the story is deeper. The easybot can be asked questions about the characters, about what they think, the whys and wherefores of their behaviour, the way their relationships develop, therefore allowing it to be possible to attain knowledge of "Easyfriend" at a higher level.

Roberto Aguirrezabala was born in 1971 in Bilbao. He has a diploma in audiovisual studies and painting. After having dedicated himself to painting and sculpting from 1990-95, he started to concentrate his artistic activities on the Internet and audiovisual media. Since 1995 he has worked as an artistic director for the Internet. In 1999 he founded "l'Agencia Interactive Adclick", an agency specialized in the realization of projects for the Internet and digital communication. His research is currently centred on the development of narrative cinematic systems on the Internet, on photography, and on video and cinema.

Mbadjini in Grande Comores. A man leads us to a mysterious hut, far from his village, where he made a pact 30 years ago.

Born in Saint-Denis, Réunion, Idrisse AHAMADA MADI is a filmmaker and artist. A graduate of the École Supérieure d’Art de La Réunion, his practice lies at the intersection of reality and fiction, exploring the gray areas where perceptions waver. His work, which has been exhibited at venues including the Cité des Arts in Réunion, the Centre Wallonie-Bruxelles in Paris, and the Mulhouse Biennale, questions forms of belief, memory, and transmission through an aesthetic that blends mysticism and metamodernity. Between cinema and visual art, Idrisse AHAMADA MADI composes sensitive narratives and haunting images, where the visible is constantly doubled by an invisible presence. He currently lives and works in Paris.

Indian director Ashim Ahluwalia and designer Little Shilpa joined forces for a dark and mysterious film that turns sociocultural conventions of beauty, desire, and sophistication on their head. HUM ?? (We/Us) is a strange beast of a film that lives somewhere between avant-garde performance film, narcotic fashion parade, Bollywood wedding freakout and Toshio Matsumoto’s underground cinema. The film commences amidst a fever dream on a particularly stifling afternoon. A modern-day Cinderella toils endlessly, exposing the tedious labour that maintains the grandeur of the space within which she is trapped. Tragedy and despair follow as this Cinderella is brutally rejected from the hallowed inner halls by its gatekeepers - the latter present themselves as spiritually (and materially) superior. From the nightmare’s shadows, glorious phantoms emerge as if to exact revenge, disrupting the stale splendour at a typical heterosexual wedding party. In the aftermath, contradictory energies coalesce in a riotous, maximalist rave of third-world proportions. Nothing is the same ever again. Despite its gothic beginnings, the campy dystopian fairy tale is fundamentally about the joy, humour, and boundless imagination of the marginalised. The performance and theatricality of high avant-garde fashion are strategically subverted to challenge the notion that the wealthy have a total monopoly over beauty. Glamour here emerges from the gutter in the dead of night. Workers, drag performers and queer outsiders, acid attack and gender-based violence survivors, people who are deemed undesirable or remain invisible before beauty and fashion standards - an entire community shows up to exact vengeance from the stuffy and the conventional. Led by Cinderella, the wedding crashers unabashedly take their space, stirring the party-goers to let loose in an anarchic, hypnotic frenzy.

Ashim Ahluwalia is a director, writer, and producer. His debut, JOHN & JANE, premiered at the Berlin and Toronto Film Festivals. His subsequent film, MISS LOVELY, explored the underbelly of India's sex-horror film industry and was selected as an official entry at the Cannes Film Festival. Ahluwalia's first two films, recognized for their tone and themes, won multiple Indian and International Awards, reshaping the perception of contemporary Indian cinema. This was followed by DADDY, starring Arjun Rampal and Farhan Akhtar, an unconventional biopic on real life Mumbai crime lord Arun Gawli, narrated through varied, fractured viewpoints. His short film EVENTS IN A CLOUD CHAMBER, created in collaboration with modernist painter Akbar Padamsee and shot entirely on Super 8 film, premiered at the Venice Film Festival. The film was screened at Experimenta (BFI London Film Festival), New Directors/ New Films and Punto De Vista, amongst others. Ahluwalia’s distinctive works, straddling the line between pulp and high art, and between disparate formats and scales, have been showcased at venues like the Tate Modern, the Museum of Modern Art, and the Centre Pompidou. His latest series, CLA$$, delves into wealth disparity and social dynamics at an elite New Delhi school. Released in February 2023 on Netflix, it ranked as the No. 1 show in over 22 countries, including India, Brazil, and Mexico. Ahluwalia was named "one of the ten best emerging film directors working today" by Phaidon Press in "Take 100: The Future of Film”, and is the sole Indian filmmaker to have had films premiere in the official selections of Cannes, Berlin, Venice, Toronto, and SXSW festivals.

For the sake of freedom she leaves the door to her memory open. So Omer enters her room every day healing her broken heart through his word and spirit.

My Name is Abdalla Mohamed Gaffar Ahmed, a young and aspiring Sudanese film director who shot and directed my first short feature entitled ?Beyond Memory? ON 11-2012, And second short documentary film about " US Technology Sanctions on Sudan" ON 1-2014 . Born in the United Arab Emirates Since 1990, I moved back to Sudan in 2002, when my family resettled back to my native land. I am currently enrolled in a local undergraduate study program undertaking a media degree in ALMASHREQ Universty of Science and Technology. I consider my recent found interest and work in film making to be the crowning of my collective long running interests in photography and creative writing. Throughout my childhood and early youth, living in diverse spaces, has helped increase and develop my sensitivities towards international cultures all which seem to feature in the pattern of my arts. As a young artist I hope to retain my experimental and dependent artistic nature, being the sole mode of which I can express myself and the dynamic and vibrant context around me. Abdalla Ahmed 00249910112202 a.nirmen@hotmail.com

The Letters of Confinement is an essay film filmed entirely within the confinement of the filmmaker’s house during the quarantine. The first half of the film covers the story of creation according to the the ancient Egyptian genesis. The second half introduces the counter-narrative of creation based on a poem by Ibn Al-Farid, A Sufi master. The film goes on to cover stories like the deluge, the annual inundation, the nature of names, and perversions dictated by the confinement, like voyeurism and eavesdropping. During the documentation process, the surroundings work in accordance to the will of the filmmaker as if the exterior reflects his interior desires. The film follows a collage-like format. Collecting different stories and unrelated footage within the frame of the film. In doing so, an alternative narrative is created where fiction and reality overlap.

Noureldin Ahmed is an independent filmmaker, film curator, translator and visual artist; born, raised and based in Cairo, Egypt. He studied Media Design at the faculty of Applied Arts and Sciences at the German University in Cairo. In his work, Nour questions the notion of self identity within the urban context, namely in Cairo, opening up his self-centered pieces to public viewership and interpretation. Nour has participated in a number of group exhibitions in the past years. His first film, Summertime Dreams, was screened at Ismailia International Film Festival for Shorts and Documentaries in 2019. In 2020 he held his first solo exhibition, A Self-Portrait with a Halo and a Pomegranate. Nour is one of the recipients of a number of grants, including: The Self Organization Grant from Mophradat, 2021, and On the Road Again, Again from Pro Helvetia Cairo, 2022. He is a member of a cinematic collective, A Kiss in the Desert, and a research group, cifrcifrcifr. He worked as a programmer & programme co-ordinator for the short film competition at Cairo International Film Festival, a coordinator of the Arabic publications at Gouna Film Festival, in addition to working as an assistant director, assistant producer, editor and translator. Nour is currently undertaking his master's degree in Film and Screen Studies at the University of Cambridge, UK.

An audio-visual diary on the afterlives of encounters with South Asian Muslim migrants in Athens. Traces of exchanges in neighborhood cafés, makeshift mosques, Ramadan evenings, and half-sung songs ? held in fragments of sound, image, and text. Through stories, rituals, and everyday gestures, it listens to echoes of displacement and longing, tracing the ways in which memory, faith, and intimacy are held.

Shaheen Ahmed is a filmmaker from the Malabar Coast of Kerala, South India. His work explores memory and identity, often at the intersection of faith, intimacy, and collective spiritual imagination.

Curriculum is a tiny scale documentary set in Los Angelescentered around the larger theme of knowledge. It loosely follows a character, a tutor for the No Child Left Behind Act implemented by the Los Angeles Unified School District. Running through a few simple ideological questions rather than investigatingcharacters, facts, or events (as one would expect of a documentary), the film was made to open up the matter of education in Los Angeles in relation to socio-economic as well as subjective positions.

Stella Ahn is a Los Angeles native. With a B.A. in Film & Media Studies from the University of California, Irvine, she went on to California Institute of the Arts, where she received her MFA in Film/Video. She likes to make experimental narratives, essay films, and video loops. Her work focuses on unsteadily dismantling the intersections of image, fiction/reality, and politics.

A single channel video piece, looped. The piece is about 13 minutes long, with 1 minute of black over silence at the end. It features two characters, no dialogue, and depending on how one looks at it, either no narrative or a countless number of narratives. The soundscape is equally as important as the visuals. It is immersive, taken from everyday life, containing the bellows of trains to automobile traffic to background music at a shopping mall. Newhall is the district in Southern California in which the piece was conceived and shot.

Stella Ahn is a Los Angeles native. With a B.A. in Film & Media Studies from the University of California, Irvine, she went on to California Institute of the Arts, where she received her MFA in Film/Video. She likes to make experimental narratives, essay films, and video loops. Her work focuses on unsteadily dismantling the intersections of image, fiction/reality, and politics.

The Annunciation is a film in which one of the central motifs of Christian iconography is constructed and re-enacted through moving image.

Eija-Liisa Ahtila Born in 1959 in Hämeenlinna, Finland, Eija-Liisa Ahtila is visual artist and filmmaker. Her films and multi-screen installations explore and experiment with narrative storytelling, creating extraordinary tales out of ordinary human experiences.

WHERE IS WHERE? is based on an incident which took place during the Algerian independence war in 1950?s. Reacting to the acts of violence committed by the French, two young Algerian boys murder their friend, a French boy. The story, told in multiple simultaneous images, starts in the present day as Death enters the house of the Poet. She starts to investigate these past events, which gradually become interwoven with the present moment. A mist clears from the back garden of the Poet`s house to reveal a small row-boat which has appeared in the swimming pool. In it sit Adel and Ismael.

EIJA-LIISA AHTILA Born in 1959 in Hämeenlinna, Finland, Eija-Liisa Ahtila is visual artist and filmmaker. Her films and multi-screen installations explore and experiment with narrative storytelling, creating extraordinary tales out of ordinary human experiences. Her works deal with separation, loss, sexuality, relationships among family members, mental disintegration, and death. They investigate the processes of perception and the attribution of meaning, with breaking down the story on several screens around the viewer in the space. Making installations and films has become for her a process of identifying the links between images, sounds, rhythms, light, characters and words, and using them to approach and construct the story. Eija-Liisa Ahtila was the recipient of the Artes Mundi of Cardiff, Wales in 2006, the Vincent Van Gogh Biannual Award for Contemporary Art in Europe, Maastricht, The Netherlands, as well as the Coutts Contemporary Art Foundation Award, Switzerland, both in 2000, and the Edstrand Art Prize, Sweden in 1998. Ahtila attended Helsinki University, Faculty of Law (1980-85); Independent Art School, 198184; and London College of Printing, School of Media and Management, Film and Video (1990-91). She received a Certificate from U.C.L.A. in Film, TV, Theater and Multimedia Studies, Los Angeles (1994-95) and attended special courses at the America Film Institute, Advanced Technology Program, Los Angeles (1994-95). Ahtila has exhibited extensively at numerous museums and film festivals around the world and her films have received distinctive film awards and prizes over the years. Her work has also been widely seen on television in Europe. British Film Institute has published a home DVD box of her films titled The Cinematic Works of Eija-Liisa Ahti/a. Eija-Liisa Ahtila currently lives and works in Helsinki.

The film uses the methods of presentation as a path to the company of other living beings. It expands upon the issues of ecological moving image narrative, the focus being on presentation, imaging and imagination in the context of the moving image.

Eija-Liisa Ahtila is a renowned Finnish filmmaker and contemporary visual artist, born in Finland in 1959. She studied at the University of California, Los Angeles, at the London College of Printing and at the University of Helsinki. She has long been considered a master of the cinematic installation form. In 2011, the artist was appointed to the main jury of the Venice Film Festival and in 2013 she was the Chairwoman of the Jury in FIDMarseille. She is currently doing her PhD at the Academy of Fine Arts in Helsinki. Ahtila’s work is conceptually organized around the construction of image, language, narrative and space. Her earlier works dealt with unsettling human dramas of teenage sexuality, family relations, mental disintegration, and death. Her recent work tackles more profound and artistic questions where she investigates the processes of perception and attribution of meaning—at times through a cultural and existential thematic, like colonialism, faith, and post-humanism. Ahtila’s work has received many awards including the ARTE Award for Best European Film at the International Short Film Festival Oberhausen; the Great Prize Fiction at Vila do Conde International Short Film Festival, and the Best Nordic Short Film at Nordisk Panorama. Her crafted work was showed in some of the most prominent contemporary art museums and festivals including the Guggenheim, Bilbao; Monderna Museet, Stokholm; DHC/Art Foundation for Contemporary Art, Montreal; Jeu de Paume Paris; The Museum of Modern Art, New York; Museo d/Arte Moderna e Contemporanea, Bolzano, Italy, and Tate Modern, London. Her short films have also been shown at major festivals throughout the world, including Berlin International Film Festival, Sundance Film Festival, and Venice International Film Festival.