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Oliver Cromwell's republican government in Britain saw an era of social austerity in which gambling and drinking were punishable crimes. After Cromwell's death, England once again became a monarchy. In 1660 Charles II took the throne, the forbidding laws were annulled and the tradition of the "Grand National" became well established as a social and cultural activity which is associated with the king who is known for his fondness of horses. The "Grand National"- one of the biggest race courses in Britain ? is a site at which cultural heritage, history and contemporary British society meet. Since the days of Charles II it hosts the peak of the social season. It is a glamorous event that attracts thousands every year, including members of the Royal Family. Bartana arrives at this social event in order to focus on the audience. In her previous work Bartana focused on rituals, memorials, and bestowing of social ceremonies that are part of Israeli society. In doing so, she documented events that involved issues of local, national, public, and personal identity. The primary aim of civilian rituals is the consolidation of a distinct local collective identity and intensification of the feeling of belonging of the individual. As time passes, the gesture alone remains in its updated form, but is occasionally empty. The original meaning of the ceremony is flattened, and what remains is a symbol and a mere reminder of what was before. In the "Grand National", commissioned by the Liverpool Biennial, Bartana investigates the socialization rituals that take place around the race course and examines the tension that is created between the site, the past culture, and today's society. Among others, Bartana chooses to focus on an event that is considered by many as the highlight of the happening ? Ladies Day - an ostentatious show of fashion and high heels, an extroverted exhibition of colour and stereotypical femininity.

Yael Bartana was born in 1970 in Kfar-Yehozkel, Israel. She has a BFA from the Bezalel Academy of Art and Design in Jerusalem, an MFA from the New York School of Visual Arts and participated in the Rijksakademie artist-in-residence program from 2000-2001. She has had solo exhibitions in many countries, including Germany, Israel, Australia, and Japan, and has won various prizes such as the Anselm Kiefer Prize in 2003 and the Dorothea von Stetten-Kunstpreis in 2005. Her work focuses mainly on the relationship between ritual and identity in Israeli society, looking at the practices that constitute identity, especially in its relation with traditional and contemporary notions of gender, place, and ethnicity. In most of the pieces Bartana uses documentary footage shot in public or semi-public spaces at collective events that contribute to identity formation, such as shooting drills for trainee female soldiers or the carnivalesque festivities of the Jewish holiday 'Purim'. Bartana currently lives and works in Amsterdam.

Hercules travels by bike from Krefeld in the Lower Rhine region to Mount Olympus, the throne of ancient deities. In the process, the legend of Hercules, as a primal myth of masculine power, is interrogated by means of biographical reflections and stagings of mythological echoes. The dramatic structure of this hero’s journey breaks up, in multi-material perspective, into issues of male identity, ideals and remorse.

Nils Ramme and Felix Bartke have been studying at the Academy of Media Arts Cologne since 2017. Since 2020 they share an artistic practice, which so far has resulted in the short films "Cruiser" (2022) and "Hercules" (2023). "Cruiser" has been shown internationally ( Internationale Kurzfilmtage Oberhausen; Clermont-Ferrand; St. Louis International Film Festival, Missouri, Landshuter Kurzfilmtage, FECI Bogota) and was awarded the "Queer- and Genderprice 2022" by the "blicke Filmfestival" (Bochum, Germany).

Istanbul famously stands as the bridge between Asia, Africa, and Europe, and it is at this geographical crossroads that three migrant families? stories intersect. Far from the glorious Ottoman architecture and the glamorous Bosphorous nightlife, In Transit shows the tough life of transients stuck in Istanbul, between their war-torn or impoverished past and their imagined and elusive future. It tracks an Iraqi Arab family, an Iraqi Kurdish family, and a Nigerian couple for a full year, witnessing their struggle to adapt to life on the margins of an unforgiving city while awaiting visas and work permits that never seem to come.

Berke Bas studied Political Science & International Relations and Media Studies in Istanbul and New York, respectively. Worked as a producer, director and editor in various media projects. In 1998 she co-founded inHouse projects which specializes in documentary production, among the works is Crossing Brooklyn, a one hour documentary on three teenagers living in diverse neighborhoods of Brooklyn. Now located in Istanbul, she is a part-time lecturer at the Film-TV and Cultural Studies graduate programs of Istanbul Bilgi University. In Transit is her first feature documentary as a director.

A correspondance between two lovers from two mediterranean cities, a forbidden letter given to the sea to carry. The title means phone echo, the voice's echo.

Anouch Basbous was born in Marseille in 1999 and grew up in Berlin where she developed an early interest for visual storytelling through photography. After her first visit to Lebanon in 2018, that marqued her profoundly, she decided to pursue a career in filmmaking. In 2022 she obtained her bachelor degree from Marseille’s School of Fine Arts. She collaborated with Thery Al Alam, a Lebanese musician, on her first film ???? ??? [ Hatef Sada ] where she explores the use of "hors-champ" in narrating a queer love story. She is currently pursuing her master and working on another film set in Lebanon.

? ticking clock. A view out of a window: the beat of spring thaw - melting ice dripping through the holes of a drain pipe, droplets falling on a child’s hand and a withered grapevine. All these random, unrelated, insignificant things, sounds, and movements begin to live one common life, communicating with each other and Time.

Mikhail Basov (b. 1977, Taganrog, Russia) - filmmaker, video artist. His works has been exhibited internationally in festivals & gallery exhibitions such as Experimental Film Festival Portland, Video Art Biennial in Barcelona VIDEOAKT, Oslo Screen Festival, WRO media art biennale, Kasseler Dokfest, Japan Media Arts Festival, Jihlava International Documentary Film Festival, Festival Miden, DOKer Shorts, Kinodot, International Film Festival "Message to Man", Ryuichi Sakamoto Async International short film competition (Apichatpong Weerasethakul award), Rencontres Internationales Paris / Berlin, 32nd São Paulo international short film festival, Moscow International Experimental Film Festival & other.

The glory and decadence of the Mongolian ethnicity. Climate change and the economic and urban transformation of China have seen the steppes turn into desert and its inhabitants forced to leave the countryside for the city. Among the people who are emigrating to the metropolises, a group of horse breeders has decided to set up home in the suburbs of Beijing, in the stables of a Chinese billionaire crazy about horse racing. Their livelyhood is assured, although modest, but the memory of what they used to be haunts them tirelessly. While their memories return to the spaces of their native lands like ghosts from another era, they find their daily activities useless and meaningless. In the meantime, the Chinese businessman is fights government to legalise horse racing betting. A film that blends the evocation of the past with the observation of a little-known reality, wreathed in melancholy that we perceive through a statuary aura frozen in time and the language of a lost epic tale.

After growing up in Corrèze, Rémi moves to Paris to study at Sciences Po. There, he starts a blog of film analysis and creates a short film festival. He then works for a few months at Alfama Films with the producer Paulo Branco. In 2012, he enters the directing department of La Fémis where he directs both fictions and documentaries. In 2017, his graduating documentary is selected in the International Competition at Nyon’s Visions du Réel. Rémi is now working on the development of his first feature film “Merzouga” and on other short film projects.

Its an ethnographic film exploring the legend of a Mahadeo Koli Goddess Kalsu whose story and identity remains impregnated in the consciousness of the women of the tribe even today. The film tells the story of the Goddess while drawing visual contrasts between primordial and contemporary images.

Yudhajit Basu joined Film & Television Institute of India, Pune in the Direction Department in 2017 after graduating in Mass Communication and Videography from St. Xaviers College, Kolkata, India. He has made short films & documentaries centering around the themes of climate change and the dichotomy between the modern and the primordial. He is also the editor of a little magazine on poetry in Bengali called “Shabdo (Sound)” and has also published books on poetry. He has been invited to participate in Opening Scenes Lab at 52nd edition of Visions du Réel, Switzerland, which is a special programme for the 16 filmmakers selected globally where his latest short film ‘Kalsubai’ had its World Premiere. Over the years Yudhajit has produced and directed short films, Khoji, Quiro, and Gulnara. These films have been screened at various National & International Film Festivals including Ismailia International Film Festival, Egypt; Toronto South Asian Film Festival, Canada; Bucharest Film Festival Romania; IDSFFK, Kerala, India; ISFF, Melbourne, International Changing Perspective SFF, Istanbul, Turkey amongst many others. His latest Short Film KALSUBAI which is a short 20 minute ethnographic film about the legend of a Koli goddess, had its World Premiere in Visions du Réel International Short Film Festival of Nyon in Switzerland. The film explores the Koli legend of the tribal deity ‘Kalsu’ whose story remains impregnated in the consciousness of the women of the tribe even today. The film won the best film award (Grand Online Prize of the City of Oberhausen) and also bagged a Special Mention from the Ecumenical Jury of Oberhausen. Kalsubai had its UK Premiere in the Sheffield Docs Film festival, Austrian Premiere at Vienna Shorts and its Dutch Premiere at International Documentary Film Festival of Amsterdam (IDFA) 2021 and many more. Yudhajit's recent docu-fiction project “What We Lost in the Fire” has been selected in the Co-Production Market at National Film Development Corporation, 2020

In the appartment of a family from the Portuguese migration of 1960 located in Nanterre, family members face an exclusive logic of identity and the limits of their desire. Interpersonal and generational narratives are interwoven with an exterior to the stage. Their visions and alienation follow each another within intersecting fragments, a backstage for the failures of integration politics against new points of decisive action.

Angelin is a French-Portuguese filmmaker, photographer and performer based in France. They collaborate with the experimental film platform Kinet.media (US) and co-direct the experimental music label Hisolat under the pseudonym Abhr.

The result of a collaboration between the Senegalese contemporary dance company Diagn'art and the Belgian and Swiss artists Kita Bauchet and Stéphanie Pfister, "Saint-Louis on the move" presents a subjective sketch of the city and the rythme of its daily life. An exploration of Saint-Louis through several choreographies performed by 2 dancers and 2 cameras, on Siegfried Canto’s music that highlight the cities energy and the fierce creativity of its youth.

A graduate of INSAS, Kita Bauchet is a Belgian filmmaker. After several short fiction films, Violette et Framboise, Le temps d'un soufflé, Violette au Travail, in 2009 she directed La Fabrique de Panique, a feature-length documentary on the Belgian animated film "Panique au village" by Vincent Patar and Stéphane Aubier, will follow in 2016 Une vie contre l'oubli on the work of director André Dartevelle. In 2018, she created Bains Publics, which opened the doors to the "Bains du Centre" in the heart of a popular district of Brussels. The film received the France Télévisions prize for best documentary at the International Festival of Women's Films in Créteil as well as at the Brussels in Love festival and a special mention from the jury at the "Signes de vie Clermont-Ferrand" festival.

In a Kyoto bookstore, an employee receives a parcel of new books. She methodically leafs through them, scratching the surface of certain pages with a blade in an extrapolation of the use of bokashi, a Japanese practice of self-censorship wherein obscenity is defined as ?that which unnecessarily excites or stimulates sexual desire.? In a poetic of the absurd, the film extends the bokashi gesture beyond the question of desire, in a ritual that doubles as a meditation on what an image does, or can do.

Eric Baudelaire, born in Salt Lake City in 1973, lives and works in Paris. Working in video, photography, printmaking and installation, Baudelaire is interested in the relationship between images and events, documents and narratives. Recalling factographic practices, his work can involve elaborate staged situations that appear to be real, but are somewhat off-kilter, placing the viewer in a situation of questioning the modes of production and consumption of images, political and social constructs and their modes of representation. He also uses simple techniques of assemblage, sampling and mechanical reproduction, applied to real documents, to playfully extract fictive narratives or new formal vocabularies. He has had solo exhibitions at Elizabeth Dee gallery, New York, Galeria Juana de Aizpuru, Madrid, and in Belgium at the Galerie Greta Meert and the Musée de la Photographie, Charleroi. His work is present in several public collections, including the Whitney Museum of American Art, the Centre Pompidou, the Fond National d`Art Contemporain, and the FRAC Auvergne.

Every family has a secret it would rather forget. A tour guide, a writer, a priest and his wife each come from a country which no longer exists but which took them prisoner when they were as old as their children are now. They were public enemies of the German Democratic Republic (GDR), later to be "bought off" by the West German government. They spoke their minds and were sent to prison for it. But today it's almost impossible for them to talk about that past within their families, who were strongly affected as well. "Last to know" are the victims' parents or even their children, as some are afraid to ask specific questions while others lack the courage to answer them. This film tells the story of three German families out of an estimated 250,000 former political prisoners of the East German regime.

Marc Bauder was born December 21, 1974, in Stuttgart, grew up in the area of Lake Constance, and is currently living in Berlin. His studies include: 1996-2001, Business Administration in Cologne, St. Gallen, and New York; and 2001-2004, Film School Potsdam-Babelsberg. Professional Experience: 1997, ZDF, Hauptredaktion Reihen u. Serien; Fritz Wagner Filmproduktion, Production Assistant; 1999, HMR International, Cologne: Media Consulting; Founding of bauderfilm. Select filmography includes: 2000, "No lost time" Documentary; bauderfilm/ WDR, Script, Director, Producer; Dokfilmwerkstatt Poel; International Documentary Film Festival Leipzig; 2003, "grow or go ? the architects of the global village" Documentary; bauderfilm/ZDF "Das kleine Fernsehspiel", Script, Director, Producer, International Documentary Film Festival Leipzig; 2004, Istanbul International Film Festival; Crossing Europe Film Festival, Linz; International Film Festival AFO; 2006, "Das kleine Fernsehspiel", Script, Director, Producer, Berlinale Panorama; and "the communist" Documentary. Dörte Franke was born November 11, 1974 in Leipzig, former GDR, and moved to Cologne in 1981. He has been living in Berlin since 2001. His studies and work include: 1994-2001, University of Cologne, M.A. political science; 2001-2005, Film School Potsdam-Babelsberg Publications; 2001, "die einen wetten, die anderen warten", novel; 2002 "denkmalimkopf", novel; Lecturer for Manga-Translations, i.e. Perfect Girl, Tokyopop Select filmography and exhibitions: 2000, "No lost time", documentary; 2003, "Westpaket", short film; San Francisco; "grow or go ? the architects of the global village" documentary; 2004, "Spurensucher - Images of Otto Weidt", documentary; 2006; "last to know", documentary; 2006, "the communist", documentary; "Stumbling Block" documentary.

?Harnes? is originality battalion of the NPDC FRACas a part an exhibition ?Shades to the paradises?. The film is shot in places of memory, Nord-Pas de Calais Flanders and The English coasts, strongly influenced by the First and the Second World War. By inviting the public to revisit these singular places, it offers the occasion for him to raise questions about the history of humanity. In 2007, Régis Baudy meets the members of the Friends of old Harnes, association dedicated to the memory of these two world wars. All originating in Harnes, these old members of the resistance movement or witnesses of the time will become with the passing months the motor of a piece of work, more experimental than formal. This series of actions of the resistance in a mining country during the Nazi occupation, represented by old and worn bodies, reinvents the representation of the terror and the danger of recent situations and draws up an atypical and disconcerting portrait of this generation.

Régis Baudy began his studies of visual arts at the Higher School of the Art school in Perpignan (France). Three years later, he joined the Royal Academy of the Art school in Copenhagen (Denmark). Joining the department of new media, he will develop over the following two years his videographic writing with it. Régis Baudy deliberately invites, right from the start groups of special people to explore the language of experimental video through problems related to them. From this collaboration with these nonprofessional actors arises the disconcerting atmosphere where each person, integrated into his life, finds herself associated to a character ? expression of fiction. If ?The Land? in 2005 and more recently ?Arnes?, FRAC NPDC, Régis Baudy´s video achievements included the theme portrait in an alternate dimension. In 2008, obtains a three month workshop-residence in Montreal at the center of visual arts, the Darling Foundry. He will soon take part in the exhibition ?Beautiful People (and the secret wound)? in City Gallery of Prague (Czech Republic).

30 years after the end of the great proletarian Cultural Revolution, Chinese people from Munich, Germany, as well as those from Changsha, China, were asked to pose with the Maoist bible, as had been done during the revolution. There were friends, students, artists, and passers-by (China). They were free to choose a Maoist bible from among 40 different editions in which the official photo had been replaced with an image of Mao drawn by an Occidental artist. The artists included Andy Warhol, Gerhard Richter, KP Brehmer, Jörg Immendorff ...

Horst Baur was born in Munich, Germany, in 1954. From 1973-80 he studied philosophy and Catholic theology. From 1978-93 he collaborated on the avant-garde theater scene in Munich. He followed studies in editing from 1980-82, and in 1982-82 he was also co-editor of the journal "Fliegenpilz". Since 1987 he has worked on videos and performances, and since 2000, mail art.

Over the course of a year, WALD (2017) returns to a forest glade. The film witnesses the vegetation changing in different seasons. A house can be seen dimly in the distance. A panorama pan scans the space. The view upwards, at eye level and to the ground - 360° - 3 perspectives. The pan is shot with a 16mm Bolex by hand. The camera itself becomes the main actor of the film, which is underlined by the way it is shot but also by the montage of the film. Original sound accompanies the images, but is interrupted by the adhān of a muezzin, the rustling of leaves, the buzzing of bees - these strong sound elements appear and disappear at the same moment. WALD (2017) by Clara Bausch, 16mm, 24 fps, optical Sound, no Dialogue, 6 Min

Clara Bausch works multi and interdisciplinary. Throughout her observation, Bausch creates narratives to thematize questions of identity and freedom. Bausch develops concepts resulting in films, photographs, works on paper, objects and drawings. She is co-founder of LaborBerlin, a platform for exchange and discourse on working with analogue film.

Cairo. We look at newspapers, which show occasions of the revolution in 2011. The film fragments encounters with Sama Waly, Reda El Sayed, Sarah Rifky and Islam Azzazzi in the summer of 2014. The film is produced with the help of Analogue Zones # 3, a collaborative project between Cimatheque Cairo, LabA and LaborBerlin.

Clara Bausch (1982) lives and works in Berlin. She is an artist and filmmaker. In 2009 she graduated at University of the Arts Berlin, UdK, her studies of fine arts, with professor Lothar Baumgarten. In her artistic practice she is dealing with situations, perception of information, constructed realities, light and time. She works in the fields of film, photography, drawing and installation. Clara Bausch is member of the association LaborBerlin e.V. since 2006. She has organized and conducted projects, workshops and screenings in several european cities. Bausch`s works and films have been presented in exhibitions, screenings and festivals. Grants 2013 Kurzfilmförderung , BKM; 2013 Residenz, Levitation, Centrum, Berlin; 2012 A-I-R Residency, CCA, Zamek Ujazdowski, Warschau; 2010 Residenz, Schule 21 e.V., Bremen; 2006 ERASMUS-Programm, London

Depuis 2002, le projet Blanche-Neige évolue à travers une série d?interventions : performances, conférences, spectacles et manifestations. Ici, Blanche-Neige investit l?espace filmique. Parés d?un costume et d?une perruque en latex prémoulées, designées par Roël Stassart, les interprètes battent la campagne en escadrons dans une mise en scène reprenant les codes du western et du film de guerre. L?utilisation du format Cinémascope et du grand angle permet d?aborder la place du corps dominé par les grands espaces, et renvoie la figure de Blanche Neige à l?immensité du paysage. Le personnage de Blanche-Neige, démultiplié et décontextualisé, fait se télescoper des sensations liées à la féérie enfantine et au cauchemar publicitaire. « Dans ce travail, explique Catherine Baÿ, il est question de réactiver un possible imaginaire autour d?une figure hypermédiatisée devenue objet de consommation courante et de proposer un spectacle populaire. » Ce travail sur la déformation du mythe donne lieu à un film hybride interrogeant le rapport entre industrie de l?image et imaginaire collectif.

Après des études de théâtre (École Jacques Lecoq, Philippe Gaulier, Antoine Vitez), d`ethnologie (Jean Rouch) et de danse (notamment avec Marcia Barcello, Philippe Decouflé, Milly Nichols), elle développe, depuis une dizaine d`années son travail de chorégraphe et de metteur en scène. Son parcours la conduit à se promener à travers les formes (chorégraphie, performances, mise en scène, vidéos, cabaret) et à collaborer avec des artistes de différents champs d`expression. De 1987 à 1994, C. B. orchestre des performances et des événements dans différents types d`espace : piscines, boîtes de nuit, friches industrielles et les galeries Yvon Lambert , Anne de Villepoix, .. Elle collabore notamment avec les plasticiens Combas, Jean-Charles Blais, Sylvia Bossu, les architectes Laurence Bourgeois et Pascale Lecoq, les acteurs-danseurs Alain Rigout, Amy Garmon et Laurence Levasseur. Depuis 1994, elle développe un travail spécifique sur les codes de représentation. Elle dissèque les écarts entre le corps intime et le corps social dans Relief ou le discours sur l`éloquence en portant un regard critique sur les postures des hommes politiques lors des élections de 1995. Ainsi parlait Eliane et Lulu, qu`elle élabore avec Marco Berrettini et Kolatch, joue sur la confrontation scénique de corps singuliers. En 1999, elle chorégraphie Nains mode d`emploi, spectacle qui se déroule en vitrine. C. B. y élabore un dispositif scénique complexe qui instaure un dialogue entre un écran vidéo et des acteurs. Le motif du bouffon y est exacerbé et concentre l`approche satyrique du monde de la chorégraphe. Elle travaille actuellement à la création de nouvelles interventions de "Blanche-Neige" et une création en cours " Jack in the box ". Aujourd`hui s?est renforcé par l?expérience acquise avec le projet Blanche-Neige une méthode spécifique à celle du travail avec le "Performer". Elle a donc mis au point la méthode A235. Cette méthode se développe sous forme de workshop. Le premier s` est déroulé en juillet 2009 à Micadanse (Paris) et se poursuivra à la fondation Gilbert Brownstone (Paris) courant 2010. Parallèlement à ses créations, Catherine Baÿ dirige artistiquement et coproduit différentes structures qui ont pris domicile dans ses bureaux du 41 rue du Faubourg Saint-Martin à Paris. Qu`il s`agisse du Cabaret "Nue & Habillé? de 1994, de la vitrine ?Window? crée avec les frères Stassart en 1999, de la galerie ?The Window 41? dirigée actuellement par Charlotte Batifol et Yann Perol, ou du Laboratoire A235, chacune de ses structures sont de véritable plates-formes d`échanges et de création. Elles ont permis et permettent encore de créer des événements en marge des institutions classiques et de s`interroger sur le dynamisme possible entre la production, la diffusion et la création.

"Blanche Neige Episode #1" is the first video realization independant of the "Blanche Neige" (Snow White) series. Several Snow Whites cross a landscape and the frame of the image. The "Blanche Neige" project was initiated in Paris in November 2002, and evolved into interventions and videos. The Snow Whites, through performances, conferences, and demonstrations multiply throughout the world. Snow White, a character from another world, sneaks into our own like a virus, invades a space, adapts it to its needs, and quickly leaves it. Snow White can be seen in a multitude of different spaces and situations, in the city or in the country, in an art gallery, on a boat, alone, in a group. Snow White is never exactly the same, but never totally different either. In this project, Catherine Bay interrogates our relation to the image. The project was presented in Paris, at the Brownstone Foundation and at the Cartier Foundation; in Milan at the Uovo Festival; in Moscow at the Kliazma Festival; in Rome during the Nuit Blanche; in Lausanne at the Arsenic Theatre; in Beaubourg at Vidéodanse; and at the Parc de la Villette. Les Rencontres Internationales Paris/Berlin have invited Catharine Bay to Podewil in Berlin and the Grande Halle de la Villette. The next intervention of the Snow Whites will be held at the Mac/val Museum on September 16, 2007.

Une jeune femme s’enfonce progressivement dans la forêt. Le temps s’écoule. La nuit tombe. Bruissante de sons, profonde et suffocante, la nature disparaît peu à peu au profit d`une expérience sensible où l`invisible tente de se manifester. Le film envisage la forêt dans sa densité poétique et pénètre dans l’espace mental de la jeune femme où réel et irréel s’entremêlent. Plusieurs mondes se déploient en un mouvement continu tandis qu’elle, vivante et incertaine, agit au coeur de cette surface opaque et primitive.

Laura Bazalgette est née en 1983. Elle vit et travaille entre Paris et Bordeaux. Sa pratique englobe de multiples disciplines et tout particulièrement la réalisation, la mise en scène, le montage et la scénographie. Son travail questionne la notion de ligne narrative et articule une dramaturgie où coexistent fiction et réalité, visible et invisible, nature et artifice. La subjectivité, le temps, la plasticité d’une situation, sont autant de sujets de réflexions qui irriguent sa recherche. Elle réalise plusieurs films : A kind of bright shadow (2017), REM (2013, installation présentée à la Manufacture Atlantique), Intérieur (2012, Rencontres Internationales Paris-Berlin), L’exercice de la raison (2008). Depuis 2013, elle développe une recherche axée sur les écritures contemporaines avec la compagnie Fond Vert. En 2017, elle écrit et met en scène BEDFORD PARK (Manufacture Atlantique, Festival International des Arts de Bordeaux). En 2013, elle met en scène SÉRIES, performance d’après F. van Dixhoorn (Manufacture Atlantique, La Loge, Stichting Perdu). En septembre 2016, elle travaille auprès de Rodolphe Congé et Joris Lacoste sur le spectacle RENCONTRE AVEC UN HOMME HIDEUX d’après D.Foster Wallace (Théâtre de la Cité Internationale, Festival d’Automne).

Un village bordé d?un fleuve. Deux hommes, « le Vieillard » et « l?Étranger », marchent le long de la berge, dans l?obscurité. Ils se suivent et ne se connaissent pas. Flotte dans l?eau le corps d?une jeune fille. Morte. Noyée. Ensemble ils la découvrent. Il va maintenant falloir annoncer (énoncer) le drame. Attente. Dans la maison de la « petite morte » que les deux hommes observent depuis le jardin, se trouvent le père, la mère, les deux filles et l?enfant. Au coin du feu. Apaisés et doux. Ils ne savent pas. Le « Vieillard » et « l?Étranger », sont inquiets, agités. Ils tentent de retracer l?événement, de mettre en mot l?indicible terreur qui les saisit. Silence. « Le Vieillard » s?avance vers la demeure. Il frappe à la porte. Le père lui ouvre la porte. Il entre. Il le dit. NOTE D?INTENTIONS « Le poète dramatique est obligé de faire descendre dans la vie réelle, dans la vie de tous les jours, l?idée qu`il se fait de l?inconnu. Il faut qu?il nous montre de quelle façon, sous quelle forme, dans quelles conditions, d?après quelles lois, à quelle fin agissent sur notre destinée les puissances supérieures, les influences inintelligibles, les principes infinis, dont, en tant que poète, il est persuadé que l?univers est plein. » ? Maeterlinck « Le tournage s?est principalement déroulé en appartement, dans un espace de quatre mètres, sur trois. Un film en habitat avec une caméra vidéo. Il m?a semblé passionnant de mettre en frottement le lieu intime, la maison, le foyer, et la zone fictive du projet de film. Un terrain organique, apprivoisé, transformable. Les possibilités sont multipliées. Face à la problématique très concrète d?être au plus proche de mes moyens et d?y adapter le projet, il s?agissait pour moi d?inventer une autre manière d?agir. J?ai ainsi souhaité travailler avec un seul acteur qui incarnerait tous les personnages de la fiction, et par là, questionner l?artifice et le vraisemblable. Permettre le glissement du vrai au faux. J?ai donc choisi de travailler plastiquement le visage de l?acteur, de le traficoter légèrement. Créer des looks radicaux, francs et universels. Des types. Trouver le vêtement, la matière signifiante. Transformer les apparences et les identités. D?emblée comme un aveu de tricherie. De cette modification du réel, surgit un fort sentiment d?étrangeté. Il s?agit pour moi de rejoindre entièrement la FICTION DRAMATIQUE et de toucher au mystère. Un studio de cinéma fait main. Un chantier cinématographique, avec ses effets spéciaux et son montage. Expérimenter le glissement de la littérature au cinéma. Adapter. » Laura Bazalgette

Après une formation au Conservatoire National de Région de Bordeaux (2001-2003), Laura Bazalgette intègre l?École Florent en 2003 où elle travaille avec Sandrine Lanno. En 2005, elle poursuit sa formation à l?Atelier Théâtral de Création dirigé par Stéphane Auvray-Nauroy. De 2005 à 2007 elle assiste Sandrine Lanno, Bruno Blairet et Cyril Anrep au sein de L?Ecole Florent. Elle participe également à plusieurs stages de formations avec Michel Fau, Jean-Michel Rabeux, Robert Cantarella, Katell Djian, Frédéric Fisbach, Frédéric Maragnani, Renaud Cojo, Jan Fabre. Depuis Janvier 2007, elle développe un travail axé sur les écritures contemporaines. Elle met en scène Outrage au public de Peter Handke (2005), Le Fils de Jon Fosse (2007) et réalise le film L?Exercice de la raison d?après le texte de Jean-Luc Lagarce (2008). En février 2010, suite à une résidence au Centquatre (Paris), elle crée le spectacle Atteintes à sa vie de Martin Crimp . En juin 2011, elle réalise le film Intérieur, d?après le texte de Maurice Maeterlinck, 1er film du projet All By Myshelves (adaptation cinématographique d??uvres littéraires). Elle réalise de nombreux assistanats : auprès de Frédéric Maragnani et la compagnie Travaux Publics (Plage, Baroufs) et auprès de Christophe Huysman pour le spectacle L?Orchestre perdu. Elle est actuellement en répétitions sur sa prochaine création théâtrale qui s?intitule « Séries » et qui se jouera en février 2013.

Theoria is the Greek word for talking about something witnessed. If, during ancient times, someone during a travel experienced an extraordinary event a theoria was performed when the witness returned home. Philosophers talked in terms of "ritualized visuality" that received a political significance where the person lived, and the important part of a theoria was the social situation when the witness shared his experiences. The theoria that is dealt with in the film is based on the events that took place in a suburb of Stockholm, Tensta, in August 2012. A young girl borrowed her mother’s smartphone and took a photograph of a peculiar cloud in the sky. The image, that started to circulate on social media, was interpreted as an apparition of the Virgin Mary by many residents of Tensta. Thousands of people gathered in the local Syrian Orthodox church and again the miracle was witnessed, both in the condensation in the windows and in the trees outside the church. The story of the miracle in Tensta disappeared very quickly from mainstream media, but lived on different online discussion sites. In the film seven local residents perform a whispering reading of a manuscript written from these online discussions. The reading is combined with documentary footages from the church. The textual quality is emphasized and contrasted to the ecstatic situation and the documentary images where viewer has to ask her self what she is really seeing.

Magnus Bärtås is an artist, writer and professor of fine arts at Konstfack in Stockholm working with text, video, objects and installation. His dissertation in artist research, You Told Me – Work stories and video essays, was published in May 2010. Together with Fredrik Ekman he has published three books of essays. Their latest book, Alla monster måste dö (“All monsters must die”), was nominated to the Swedish national August prize. In 2010 his video essay Madame & Little Boy won the grand prize at Oberhausen International Short Film Festival. Recent exhibitions include “The Miracle in Tensta”, Tensta Konsthall, The 9th Gwangju Biennale 2012, and “ABCDEFGHI” at Marabouparken, Stockholm, 2013.

In 1978 the legendary South Korean actress Choi Eun-Hee was kidnapped in Hong Kong by North Korean agents and brought to Pyongyang. Two weeks later her ex-husband, the director Shin Sang-Ok, was abducted to North Korea as well. After spending five years in the country the couple was offered a ?contract? which included a public statement declaring their willful defection to North Korea, a major film budget, enormous resources in terms of equipment and extras, and furthermore a re-marriage. Two years later the artist-pair managed to escape, after having directing and producing a number of films in North Korea, eventually taking political asylum in the United States. Not yet finished was Pulgasari (1985), a Japanese-style monsterfilm based on a Korean legend and made in the vein of Godzilla. Madame & Little Boy is a video essay where historical lines and the circles of repetition in the life story of Choi Eun-Hee (Madame Choi) are examined. The genealogy of the monsters from Godzilla, via Pulgasari to Galgameth (Shin?s remake of Pulgasari in Hollywood) is interpreted as deliberate messages about atomic weapons.

As an experiment with situated narration this video essay takes a standpoint against documentarism and common documentary practice. The story of Madame and Little Boy (the code name of the Hiroshima bomb) is narrated by the American musician Will Oldham (aka Bonnie ?Prince? Billy) in a studio building next to The Nike Missile Site outside San Francisco. The studio building becomes place for viewing and talking back to images: the surrounding American landscape, the missile site (?a petrified monster?) where atomic weapons were kept in secrecy, clips from Shin Sang-ok?s production together with footages from North Korea. This site, serving as an intersection of the present and past, is also the meeting place with the gaze of Choi Eun-hee, filmed in a hotel in Seoul.

On Hospitality is a necromantic documentary where the Iraqi artist Layla Al-Attar returns from the dead to tell the story of how a Swedish company built a luxurious hotel in Baghdad, ordered by Saddam Hussein for the 1983 summit of the Non-Alignment Movement. War changed all the plans. Layla made a mosaic at the entrance of the hotel, depicting George Bush’s face, and her house was hit by an American missile.

Magnus Bärtås is an artist, writer and filmmaker, and has exhibited at Gwangju Biennial, Göteborgs Konsthall and Moderna Museet, Stockhom among other venues. He won the grand prize at Oberhausen International Short Film Festival in 2010 with Madame & Little Boy. Behzad Khosravi Noori is an artist, writer and filmmaker working between Karachi and Stockholm. Bärtås and Khosravi-Noori won the 1st Prize of the Jury of the Ministry of Culture and Science of North Rhine-Westphalia at Oberhausen International Short Film Festival with On Hospitality – Layla al Attar and Hotel al Rasheed in 2024.

“barrunto” is a word used in Puerto Rico to refer to a bodily unrest, an omen or a forecast sensed via signals present in the environment (such as when rain is forecast through aches and pains or when ants emerge anticipating an earthquake). “barrunto” is a way of thinking with surface and subconscious, underfoot and underground. From its deep vibration tracks to the nonlinear narrative, barrunto is a film that attempts to activate sensations and modes of being with the world and in connection beyond western frameworks of knowledge, a sensorial translation meant to be 'felt' more than 'understood'. An intimate exploration of grief and resistance in shifting landscapes of loss, from the streets to the bed; in sites of displacement, nuclear contamination, and military occupation from Scotland to Puerto Rico; from the bottom of the ocean all the way to the planet Uranus. Informed by poetry and theories of quantum entanglement across diasporic distance, BARRUNTO is a speculative narrative using digital, archival, and 16mm film hand-processed in “grief tea.” . Made in collaboration with Shanti LaLita, Claude Nouk, Alicia Matthews, Harry Josephine Giles, Nicole Cecilia Delgado, Sharif Elsabagh, Andrés Nieves, Ángela Ginorio, Bea Webster, Ciaran Stewart y muchxs más.

Emilia Beatriz is an artist and access worker from Puerto Rico’s diaspora, based in Glasgow. Emilia’s practice is concerned with the stories that absence and rupture tell, as experienced through entangled histories of bodies and land. Emilia engages translation across senses; moving at the pace of island time, sick time, moss time. Informed by Aurora Levins Morales’ ‘historian as healer’ methodology, Emilia’s films weave historical and speculative narratives —grounded in oral history and community archiving— centering dreaming, action, and griefwork attuned to climate and place. BARRUNTO is Emilia’s first single-screen film for cinema contexts. Emilia is co-founder of Collective Text, a disabled-led group who collaborate on creative captioning, audio description and interpretation. BARRUNTO is their first feature and first film for cinema contexts

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