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Through an encounter with three communities emblematic of the virtual universe that is "Second Life" - Furries, Goreans, and evangelical Christians - the film questions the porosity of real life and virtual life. For these players, the border between the real and the virtual weakens until it no longer has any meaning and the two become intextricably mixed together.

A parachutist is standing in the town centre of Frankfurt/Main as if he had just landed. His tracks are leading him by way of wild jump cuts through offices in skyscrapers, streets, parks and even into earth works and building sites of major projects of the financial district: Everywhere plants are threatening, reptiles and glistening apparitions are lurking. A metaphorical city portrait.

Dans cette vidéo inspirée du cinéma muet, dans une forêt, des ouvriers aidés de leurs machines creusent un trou en pleine forêt. Pour déplanter un arbre? Le trou s`allonge. Mais que creusent-ils ? Une tombe, une fosse septique, les fondations d?une maison ?

Vit et travaille à Paris. Diplômée de l?Ecole supérieure des Beaux-Arts en 1987, sa pratique artistique réunit le dessin, la photgraphie, la vidéo, l'installation in situ. Son travail a été exposé notamment au FRAC Auvergne, au Musée d?Art Moderne de la Ville de Paris, à la Biennale d?Art Contemporain du Littoral à Anglet, au Salon du dessin contemporain de Paris, à la Galerie Yvon Lambert à Paris. Son travail fait partie de collections notamment du FNAC Fonds National d?Art Contemporain, du FRAC Auvergne, du Landes Museum de Linz en Autriche, du Albertina Museum à Vienne en Autriche, de la Collection Weil, Gotshal and Manges à New York.

Synopsis It is very early in the morning. Four people are driving through the desert. Three men embark on an expedition to unload a set. They form, paint and put up polystyrene shapes in a location worthy of the classic Westerns. And all the time, a strawberry blonde is lounging around doing her crosswords. At the centre of the three handsome young workers, she rotates her deckchair like the hands of a watch linked to the path of the sun, until dusk, when the installation is unveiled.

"Mad Professor" was made during a one week residence at Netwerk Art Center in Aalst, Belgium. It is a part of a Paul Deschanel Movement Research Group project. The theme was 'Humour & Gender'. The film can be viewed as a collaboration of all the participants. Tinkering with the borders between art and life, between an institutionalised art world and pop culture, between high and low, performance invokes strategies of humour and plays with gender issues. Humour serves as the jester?s vehicle to puncture decorum and create idiosyncratic forms and hierarchies. Gender pervades our taste and manners as well, often unnoticed or unspoken, as a persistent cultural residue that haunts the so-called formal aspects of life. Can humour and gender reinforce one another on this point, as a critical artistic strategy? Or do they have different interests? Since it concerns ourselves, whether we like it or not, doesn?t gender prompt us beyond irony? Humour on the other hand might be a comfortable practice of distancing, but isn?t it also an essential exercise in lightness?

Alexandra Dementieva studied journalism and fine arts. Her main interests are focused on social psychology and perception and their application in multimedia interactive installations. Her video work integrates different elements including behavioural psychology, developing narrative through the point of view of a subjective camera. Her video and multimedia works have been exhibited internationally. Paul Deschanel Movement Research Group The Paul Deschanel Movement Research Group tinkers with a process-oriented approach of movement research, claiming fundamental research as a prerequisite for artistic sustainability. Particular attention is devoted to collaboration and exchange, environmental awareness and a consciousness of physical and cultural borders.

Stories and legends about numbers are very popular in human history. What does mean following the numbers and what kind of associations could be spelled by some of them? Personage of subjective camera is chasing magic combination becoming the part of strange and fragile world of dreams and loosing the control over the reality.

Alexandra Dementieva?s main interest is application of social psychology and perception in multimedia interactive installations. Her video work integrates different elements, including behavioral psychology and developing narrative through a point of view of subjective camera. Her interactive installation projects attempt to widen mind`s perception possibilities by different production means: computers, video projections, use of sound bands, slides, photography, etc. By making certain historical, cultural and political allusions her exhibition sites create the frame within which the idea develops. The projects explore spectator?s depths of perceptional experience and interaction of an individual spectator with the exhibition proper, as well as with other visitors. The object on an installation or its production means become less important to her than the mind of a user. Thus the latter becomes the center of the project or the main actor of the performance. Her installations resemble questionnairs that may or may not be answered only with spectator?s participation.

Brussels was built on a swamp. Today, only one tiny part of Brussels is still officially a swamp. Although continually threatened by development the area stayed intact, largely due to being ensnared between two railroad tracks. Further enclosed by high-rise social housing and industrial areas just behind these railroads, the swamp is a mix of damp prairies and patches of bushes and trees. It’s home to a lot of small wildlife such as birds, rodents, bats, amphibians and even ringed snakes. A small green oasis, in the middle of a concrete landscape. Murmur is a collaboration between film maker Jan Locus and sound artist Stijn Demeulenaere. Just before first light, Jan and Stijn recorded the dawn chorus at the swamp. The city drone permeates the sound of the swamp, and a strange mix enfolds between the sound of an awakening nature and a human presence. Urban drone and bird song merge into an (un)familiar murmur presence in the twilight hour of the morning.

JAN LOCUS The long-term projects of photographer and filmmaker Jan Locus study the complexity of worldwide, socio-political issues. He had exhibitions at FOMU Antwerp, Noorderlicht Photo Festival Groningen, Iklectik Art Lab London, De Brakke Grond Amsterdam, and Les Rencontres d’Arles. His photography books include “Mongolia”, “De Bewegende Stad”, and “Devoted.” Jans films have been shown at film festivals including IFFR Rotterdam, DokFest Kassel and International Short Film Festival Oberhausen. He lives and works in Brussels. STIJN DEMEULENAERE Stijn Demeulenaere is sound artist and field recordist. He creates installations, soundscapes, performances, and does sound design for dance and theatre. Stijn researches the relationship between identity, sound and listening. His work was shown at, among others, Concertgebouw Bruges, NIMk (NL), Den Frie (DK), STUK (BE), Kaaitheater (BE), New adventures in Sound Art (CA), and IFFR Rotterdam. His work was nominated for the LOOP Discovery Award, the European Sound Art Award, and it won prizes at the Engine Room International Sound Art Award and the Musica Soundscape Award. He lives and works in Brussels.

“Yildiz Movie Theater” was opened in the beginning of the 1950’s. The location and the environment of the cinema have changed because of the fact that urban renewal within years. Video work approaches this transformation from social and architectural perspective. “Basmane” is that the region of the movie theater was the city center of Izmir. However, in the beginning of the 2000’s, many immigrants came to Izmir and “Basmane” has started to become male-dominated area. Then, “Basmane” has become a marginalized region. The cinema “Yildiz” had affected by that change and the place has been changed as enclosed soccer field and billiards saloon. It is easy to notice the traces of these constrained and rushed changes in the place. The goalpost in front of the silver screen clarifies the morphological contrast and social history of the cinema. This work addresses an issue with architecture as a witness of the social memory, the process of transformation of soccer field from a cinema and the social impacts of cinema and football.

Ozgur Demirci was born in Konya in 1982. After graduating from the Department of Interdisciplinary Art in the Faculty of Art and Design at Yildiz Technical University in Istanbul in 2008, he completed his Master’s degree in C:Art:Media at Valand School of Fine Arts in Gothenburg in 2010. He is currently a PhD candidate at Dokuz Eylül University Art and Design department. Demirci has held many solo exhibitions and participated in various group exhibitions and public projects in Turkey, Sweden, Japan, Italy, Germany, Poland, Slovakia, Czech Republic, Bulgaria, Albania and USA.

Conzerrrt in Streifen 3`23``, DVD, stereo, couleur, 2005 Musique: Brigitta Muntendorf Vidéo: Stefan Demming Un touriste prend la pose dans une station thermale, jusqu'à ce qu'il se passe une chose dans laquelle sont impliqués une noyée et un sauveur masqué - jusqu'à une douteuse happy end. L'image est continuellement découpée en de nouvelles bandes et combinée avec elle-même.

Stefan Demming (* 1973) Licence d'art et d'histoire (1999), travail sur des bandes vidéo et des installations à l'Atelier für Zeitmedien à Brême (A;1999 -2005), chez V2_Organisation, Rotterdam (PB: 2002/3), séjour d'études à Marseille (F: 2005) http://stemming.free.fr

In Ne vous laissez pas consoler Democracia collaborates with the Ultramarines, hooligans of the football team Girondins from Bourdeaux, intervening with the introduction of political sentences (via banners and merchandising paraphernalia) into a completely unusual context: a football stadium in full activity, questioning the logical structure of the spectacle. The protagonist of the film are the spectators, from entering the stadium until they leave, the game is never filmed.

After having founded the group El Perro (1989-2006), Pablo España and Iván López (1970, Madrid, Spain) formed Democracia (2006), a name synonymous with an artistic approach committed to exchanging ideas and practices along strong ethical and social lines. Their projects bear witness to an interest in scenes from social and everyday life, marked by the growing importance of images and the notion of â??simulacraâ?�, from the political, technological and cultural perspectives. Democracia had been participated at Evento 2009, Burdeos, France; X Bienal de la Habana (2009), Cuba; Taipei Biennial 2008, Taiwan; 10 Estambul Biennial, Turkey; 3rd Goteborg Biennial, Sweden . The Democracia collective is also the brains behind the magazine Nolens Volens and is the organizing body for numerous curatorial projects (Madrid Abierto 2008, No Futuro, ONG, Caracas, 2007).

In my videos I have been using appropriation as a sort of blue print or ?toolbox? from which to mine. In the same way the DJ samples and remixes music, I am interested in methods of reproducing and recontextualising images. Rather than seemly creating something from scratch, I am interested in editing and shaping what already exists in the world. Through exploring the use of found footage the role of the director is replaced with that of the editor. I actively manipulate the medium through looping, erasing and compressing moving images. I am interested in manipulating moving images in a way that `work for us` rather than passively `working on us`. I use this methodology in my video Showertime. This film explores homosexual eroticism/pornography where feelings of ecstasy extend outwards beyond the screen to the viewer. The work also hints at the notion of the sublime ? the kind of pleasure that can only be experienced indirectly, that which defies logic and rationality.

Born 1967, England Living and working in London BA (Hons) Fine Art Chelsea College of Art and Design, London

In my videos I have been using appropriation as a sort of blue print or ?toolbox? from which to mine. In the same way the DJ samples and remixes music, I am interested in methods of reproducing and recontextualising images. Rather than seemly creating something from scratch, I am interested in editing and shaping what already exists in the world. Through exploring the use of found footage the role of the director is replaced with that of the editor. I actively manipulate the medium through looping, erasing and compressing moving images. I am interested in manipulating moving images in a way that `work for us` rather than passively `working on us`. I use this methodology in my video Why Are They All Going Mad? This work hints at the notion of the sublime ? the kind of pleasure that can only be experienced indirectly, that which defies logic and rationality.

Born 1967, England Living and working in London BA (Hons) Fine Art Chelsea College of Art and Design, London

This is a piece of works done according to my poem written in early 2014 (the following is the content). Letting every sentence of the poem burn at night at someplace outside the Fifth Ring Expressway, including the crossroads, the entrance to the village, the dam, the end of the roads, the demolition ruins, and the uninhabited villages?The poem is filled with plaint, depression, and hopelessness, burning at the places outside the Fifth Ring Expressway where the migrant workers live, the so-called antizens agglomeration area. In the daytime, the places are so noisy with tumultuous crowds in a harsh, dirty restaurants, inferior buildings, and frequent crimes. When Beijing, the great city, is expanding itself, this is a corner that might be easily forgotten. There are always many trucks carrying sandy soil and cement coming and going, for everything there is in a temporary and rough and mobile state, waiting for demolition at any time. The plaintive sentences are burnt in the fire, of some romance. However, the fire has the power to transform things: it burns the old things, but along with the burning, the seriousness and solemnity of the images and sounds of the poem are sublimated. In the darkness, these burnt sentences are not only whoops of one after another, but also the numerous sparks that have been devoured by the big city. They remind us of the A Single Spark Can Start a Prairie Fire, the works of great men.(writen by Deng Dafei)

DENG Dafei (b. 1975, Jinzhou, Liaoning Province, China) and HE Hai (b. 1974, Zhengzhou, Henan) currently live in Beijing, China and are co-collaborators under the name The Utopia Group. Using residencies as their primary vehicle to create artworks together, their yearlong project Family Museum, in 2008, at the Zendai Art Museum, Shanghai practiced the concept of "art venue outside of the gallery system" and earned them much acclaim. DENG Dafei received an MFA in 2005 from the China Academy of Fine Art, Beijing, China and a BA in Art Education from Northeast Normal University, Changchun, Jilin, China. He was given the Shenzhou 19 Astronaut Award at the VIDEO Beijing Film Academy Multi-Media Festival and The Invisible Sword Award at the Yokohama Media Art Festival. He has shown in numerous exhibitions including: In Interaction, Yokohama Media Art Festival, 2007; 2nd Doland Exhibition of Young Artists, Doland Art Museum, Shanghai, 2006; Opening the Door and Seeing the Luck: International Hangzhou Contemporary Art Exhibition, Beicangmen Art Center, Wuxi, China, 2006; Long March Capital, Long March Art Space, Beijing, 2006; Fortune Video, Common Place, Hangzhou, China, 2006; Rule and Possible, Zhejiang Province Museum, Hangzhou, China, 2005; Seeing inside from Physical Body: Chinese Performance Art Document, Macao, 2005; Launch, Long March Art Space, Beijing, China, 2005; OBSESSION ? Turkey Video Festival, X Gallery, Istanbul, Turkey, 2005; Follow Me: Chinese Contemporary Art Exhibition, Mori Museum, Tokyo, Japan, 2005; Transparent Box, SOHO, Beijing, 2005; Double Reading, Directions Art Gallery, Hangzhou, China, 2005. HE Hai received an MFA in Fine Art from Donghua University, Shanghai, a BA in Graphic Design from the Beijing Institute of Fashion Technology, as well as MA and BA degrees in Visual Art from the University of Marc Bloch, France where he is currently a Doctoral Candidate. He won the Annual Prize for the Best Exhibition in 2006 at the Looking up Luck show. He has shown in numerous exhibitions including: Shenzhen Mobile, Hangzhou Exhibition Center of Peace, Hangzhou, 2009; Two Points, Palazzo Frisacco, Tolmezzo, Italy, 2008; Family Museum Project, Shenzhen Free Art Creation Base, Shenzhen, 2008; Intrude: Art Life 366, ZenDai MOMA, Shanghai, 2008; Opening the Door and Seeing the Luck: International Hangzhou Contemporary Art Exhibition, Beicangmen Art Center, Wuxi, China, 2006; Looking up the Luck: International Hangzhou Contemporary Art Exhibition, Feng Shan Art Space, Hangzhou, 2006; Gift, Museum of Normal Institute of Hangzhou, Hangzhou, China, 2005; Body Measure, Place de Palait Universitaire, Strasbourg, France, 2005.

Deep space. Monte and his daughter Willow live together aboard a spacecraft, in complete isolation. A man whose strict self-discipline is a shield against desire, Montefathered her against his will. His sperm was used to inseminate the young woman who gave birth to her. They were members of a crew of prisoners –death row inmates. Guinea pigs sent on a mission. Now only Monte and Willow remain. Through his daughter, he experiences the birth of an all-powerful love. Together, father and daughter approach their destination –the black hole in which time and space cease to exist.

Claire Denis is director and screenwriter, renowned for films including Chocolat, Beau Travail, Trouble Every Day, 35 Shots of Rum, and Bastards. Born in Paris, Claire Denis lived in a number of African countries until the age of 12. Having returned to France, she studied at the IDEHEC (Institut des Hautes Etudes Cinématographiques), where she met cinematographer Agnès Godard, who would later work on the majority of her films. She began her professional life in the cinema as assistant to major directors like Robert Enrico, Wim Wenders, Costa Gavras and Jacques Rivette. She later worked with Jim Jarmusch on his film Down by Law.In 1987, Claire Denis wrote and directed her first film, Chocolat. A semi-autobiographical story of racial tension in the colonial Africa of the 1950s at the moment of independence, the film premiered In Competition at the 1988 Cannes Film Festival, was nominated at the César Awards and met with widespread critical acclaim in the US. In 1996, she was awarded the Golden Leopard at the Locarno Film Festival for Nenette and Boni. Beau Travail (1999), Trouble Every Day (2001), Vendredi soir (2002), 35 Shots of Rum (2008), White Material (2009), and Bastards (2013) – presented in Un Certain Regard at the Cannes Film Festival in 2013 –, followed. In 2017, Claire Denis returned to Cannes when Bright Sunshine In, featuring Juliette Binoche, Xavier Beauvois, Nicolas Duvauchelle, Alex Descas and Gérard Depardieu, screened as the opening film in Directors’ Fortnight. Her latest film, High Life, starring Robert Pattinson and Juliette Binoche, has been released in November 2018. Claire Denis has co-written the majority of her films with Jean-Pol Fargeau, but has also collaborated on scripts with Emmanuèle Bernheim (Vendredi Soir), Marie NDiaye (White Material) and Christine Angot (BrightSunshine In).

When Tomoko arrives in London, she has no idea that she will soon discover a mysterious secret hidden beneath the city... London is a big city, and for those new to it, can sometimes seem quite scary. But Tomoko, who arrives from Japan to learn English, accidentally discovers a mysterious secret city underground, inhabited by friendly little aliens and beautiful blossoms. After she has found it though, everything changes...

Gaëlle Denis, 30 years old, was born and educated in France until 2000, when she moved to London to study for an MA in animation direction at the Royal College of Art. Part of the course involved a 4 month period at the Kyoto University of Arts in Japan, and eventually culminated in her award winning short film, "Fish Never Sleep". The film won the prize for Best European Animation from Cinanima Espihno in Nov 2002 and a BAFTA for Best Animated Short film in 2003, as well as the special jury prize at the Hiroshima Animation Festival and numerous other international film festival awards. In 2004 she joined Passion Pictures and directed her newest short film 'City Paradise' which was made in conjunction with the AIR (Artist In Residence) Scheme. It has also won several awards including the Jury Award in Annecy and the Innovation Award in Aspen. City Paradise was also nominated for a BAFTA. Gaëlle is currently working on various commercials at Passion Pictures and has just finished her first live action short film, "After The Rain".

From the smallest towns into the big, wide web: the promise of fulfillment is an omnipresent one. A field trip to provincial Germany and the core of a society of globalized desires.

Marlene Denningmann is a filmmaker and video artist based in Hamburg and Berlin. She is co-founder of VETO Film.

"Oo oo wow wee" (nostalgia is coming back) is a expressive video poem that uses a range of acoustic and visual signs to create an experimental narrative. The film echoes a stream of consciousness where thoughts and images collide, connecting and disconnecting meaning. The video uses a complex layering of still image sequences merging subjects such as hairdresser signs, bikes and fireworks.

In the darkness of the polar night, a scientist tries to shed light on a remarkable phenomenon: an Arctic village in hibernation.

When cracked seasons passes through the materials and life’s goal then how long a dream can sustain? How long urgencies can take to transfer into pleasing weathers of now? How long a season can sustain in the desertification of care? Aadara - a Bhojpuri sub season of 16 days at the time of monsoon is the beginning of the paddy plantation and rains in the Bhojpur region of India. The title is referred from the presence of season which symbolises life and dreams through cyclic toil. The work is an audio visual/seasonal conversation between the agrarian urgencies of Nadaon village in Bihar and the extracted forests and contaminated water bodies of Rani forest of Brahmaputra valley. The crucial goal of the work is to place the viewer into the friction between multi-layered fragments of times and ecologies by creating a space of contemplation.

Dharmendra Prasad- Rolling through orality, toil, winds, dimensions, horizon and deteriorating seasons and sites, Dharmendra Prasad harvests imagination, memories, times, change and toil, that are stored as residue in the backyard of life's goal. Through the medium of need, time, toil and soil Dharmendra's practice gets cultivated and tilledup in the form of installations, videos, paintings, photography, texts, events, and travelogue and beyond. Born in-between stories, discrimination, hierarchies, chaos and silence, full of winds and dusts, without any address, Dharmendra practices between the fields of Gangatic plains to the villages, water bodies and rainforests of northeast India, and in extension co-founding the Guwahati based Anga Art Collective. Shrutiman Deori is a filmmaker based out of Guwahati, North East India. He has worked on documentaries, narrative films as well as video art installations. While for the most part he works as a cinematographer, Shrutiman has also directed films that have received critical acclaim in film festivals around the world including International Documentary Film Festival Amsterdam(IDFA) and Camden international Film Festival. He is the recipient of IDFA Bertha Fund 2023 for his ongoing feature documentary "Shadows of the Forest". He works in the audio-visual medium wherein he explores the politics of indigeneity , community and environment. Shrutiman studied sound engineering from School of Audio engineering, Chennai and was also selected for the cinematography mentorship program by the Indian Society of Cinematographers(ISC).

A kid on an overboard, a camgirl setting up the show, a stranger sneaking trucks, while a gamer’s spleen resonate in a virtual dungeon. Hasbannium is a series of impressionist evocations drawing elliptic sequences in a metaphorical desert, an experimental fiction which has it’s root in Hesbaye, an agricultural region in Belgium with open horizons, devoid of forests or rivers. Through these landscapes, a choral film comes into being, with figures seeking out a humanity that reinvents itself in a universe of signs and meanings that are increasingly confused. The result is an impressive evocation of the temptation to disappear in which absence to self and world sketches out granular motifs.

In states of endless slumber, people endure the stifling dark. Powerful forces of nature rage relentlessly, sometimes soothing and sometimes menacing. The roar of the factory thunders on without halt, steadily eroding the surrounding landscape. Sluggish shapes seemingly abide the desolate waste around them. These Mountains, these waves and our people, carry the darkness, lies and slowness within. For he who can`t take no more only laughter can bring salvation.

Bieke Depoorter was born in 1986 in Kortrijk, Belgium. She received a Master’s Degree in Photography at the Royal Academy of Fine Arts in Ghent in 2009. Her early colour photography work is the result of a unique approach: she captures the privacy of people whom she meets by chance and she gets to invite her into their homes. She captures indescribable, fragile and intense moments, always with kindness. Depoorter finalized her first short film Dvalemodus in 2017, which she directed together with musician Mattias De Craene. The film talks about the everlasting darkness in a small village in the Northern Norway. When she was just 25 years old, she joined the Magnum agency, of which she became a nominee in 2012 and a full member in 2016. In 2017 she won the Prix Levallois. Mattias De Craene was born 1989 in Belgium. He is a saxophone player and composer. His musical language is often described as unique and genre-defying. He is often linked with the free improvisational scene, and is also a founding member of several bands, such as Nordmann. In an everlasting quest of making abstract things more specific, he has recently started to combine music with visual arts.

Teppiche werden eingerollt, Möbel zugedeckt. Ein Grand Hotel in den Schweizer Bergen geht in Zwischensaison. Doch Regisseur Christoph Marthaler und seine Theaterfamilie rauben dem Hotel den Schlaf. In den wochenlangen Proben lassen die Schauspieler Geister aus der hundertjährigen Hotelgeschichte aufleben. Die skurrilen Einzelgänger finden sich in ihren Liedern zusammen. Theatermusiker und Sohn der Hotelfamilie Jürg Kienberger reflektiert mit selbstironischer Leichtigkeit die Entstehung der Marthaler-Inszenierung. Ein musikalisch poetisches Fest zwischen Heiterkeit und Melancholie.

Biographie Geboren 1965 in Luzern. 1985 Fotografinnendiplom an der HGK Bern. 1988-93 Studium an der HGK Basel, Diplom Fachbereich Audiovisuelle Gestaltung. Arbeiten als Videokünstlerin für Ausstellungen, Opern und Theaterstücke. Seit 2001 freischaffende Autorin und Regisseurin für Fernsehen und Film. Teilnahme an verschiedenen internationalen Film ? Videofestivals.1991 Basler Nachwuchsförderpreis für «Splitsch Splatsch Rosengewitter». 2009 Newcomer Preis Visions du Réel für «Familientreffen.

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