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A young woman and her friends join a car repair shop as “Belia”(colloquial Egyptian for apprentices) to learn the craft from the Ustas (craft headmasters). They explore what this relationship creates as it merges labor with everyday life rhythms to open up a new space for movement.

Eman received her BA degree in acting and directing for theatre from Helwan University in 2017.From 2013- 2014 She joined NAS independent school for street theatre arts. From 2016 till 2019, She studied at MAAT|Contemporary Dance School, (3-Year Full-Time Professional Training Program). Different Martial Arts styles are a source of inspiration for the quality of her movement, like Taijiquan, and Shaolin Kung Fu which she has through her education at MAAT|Contemporary Dance School and later on at Meshkah Martial Art School.

Par la petite porte? Un plan moyen, fixe, ouvre sur une scène. Ce n?est pas une scène de théâtre, mais le tapis rouge du podium sur lequel se joue chaque année la pièce indissociable du Business Cinématographique, la remise des Oscars. Les insignes du grand spectacle, le défilé des stars - tout y est, le rideau doré, les Oscars démesurés, les projecteurs, les barricades pour les spectateurs. Mais les stars qui, sur fond de musique de film discrète, avancent vers les spectateurs, ne font en fait que de la figuration. Soudain, on sort de cette ambiance assourdie, lorsqu?un couple de stars percute une barrière que nous ne voyons pas. L?écran qui nous montre ces images, nous fait alors subitement reprendre conscience de la frontière incontournable qui existe entre réalité médiatique et réalité réelle. Mais le rire du couple nous éloigne rapidement de cette prise de conscience passagère pour nous ramener vers la scène : la barrière fait partie du décor et représente une borne pour les figurants qui, tout en plaisantant, repartent de manière décontractée. Cette représentation en coulisse, observée et filmée par Susanne Huth, un peu à l?écart des caméras professionnelles, à la veille de la remise officielle des Oscars 2003, puis montée avec un effet de loupe, montre le monde du glamour comme une mécanique, qui doit fonctionner sans faille, même en temps de crise : Alors que pour des raisons de sécurité, les stars empruntent en réalité la petite porte lors de la cérémonie officielle ? les Etats-Unis sont en guerre contre l?Irak ? les scènes filmées la veilles sont insérées dans les images diffusées à la télévision. « The show must go on in L.A. », où même les saisons suivent le rythme des productions de films. Ainsi, la « Pilot Season » - c?est le titre de la vidéo de Susanne Huth -, saison pendant laquelle sont tournées les pilotes des émissions télé?

1972 Naissance à Magdeburg 1991 - 94 Formation au métier de photographe à Dresde 1994 - 97 Activité dans la photographie 1997-2004 Etudes à l?Ecole Supérieure de Graphisme et de l?Art du Livre à Leipzig, branche : Photographie 2000-04 Cours de photographie artistique et nouveaux médias avec le Pr. Joachim Brohm 2001/2002 Etudes de Fine Art Photography à la Glasgow Shool of Art 2003 Bourse d?Etudes DAAD pour Los Angeles 2004 Diplôme d?Art Plastiques Bourse d?Etudes du Conseil Culturel Franco-Allemand pour Paris 2005 Projet d?artistes Goldrausch art IT

For Conical Intersect (a piece of artwork meant as a homage to McCall's movie) in 1975, Gordon Matta-Clark made a gigantic hole in a building destined to be destroyed and replaced by the Pompidou Center, at 27-29 Beaubourg Street. In 1996, Pierre Huyghe, in Light Conical Intersect superposed Matta-Clark's movie and McCall's movie, screening an image taken from Conical Intersect onto the wall of the building of the Horloge's district where Matta-Clark's building was standing. This image represents the moment when light invades the conical cavity dug into the front wall: in a perfect visual coincidence, the architectural structure is solved in light and goes back to its origins.

A 20-year-old boy falls in love with an 18-year-old girl but his family forbids him. The girl threw herself into the sea to keep their love forever. Heartbroken by the death of his lover, he went to the city to work until he was old before returning. While walking by the beach, he imagined the girl returning, the two telling stories, then a tree and disappearing.

Hu?nh Công-Nh? (b. 1991 in ?à N?ng City, Vietnam) started his first approach to art throught cinema. Completely self-taught, atured through the programme Autumn Meeting, a film event for young potential international filmmakers. In 2022, Công-Nh? explores painting as another way of expression. His works draws inspiration from his films, experimenting how an image could change when transforming from moving to still pictures, while still maintaining a direct link to his thoughts and inner world. He emphasizes that individual experiences and choices have a broader responsibility, as well as social and political implications. A recent selection of shows and awards of Hu?nh Công-Nh? includes: Hanoi Grapevine Selection, 2023, Hanoi, Vietnam; Th?ng bé bán kem, Top 14 Excellent Projects - CJ Short films Project, 2023; Top 14 Xinê House Grant, HCMC, Vietnam, 2022; N? Cái Bùm Biennial Art Week, Da Lat, Vietnam, 2022 ; Grandma's Broken Leg, Youth Jury Award - Competition SEA Short Film - 32nd Singapore International Festival Film, 2021 ; Projet de court métrage Ghost Dog, Top 14 Short film project CJ Entertainment, 2021 ; Top 12 Short film project Honor Lotte Cinema, HCMC, Vietnam; 2021.

The story is about a young couple, they go for a walk in an old church where their parents used to go. Here, they shared about their identity, their past, and their doubts about their fate. They finally overcame their doubts and moved on to a new stage in life.

Huynh Cong Nho, born 1991, Viet Nam, Nho experienced of short courses of writing scripts, montages, director, Project presentation of the Autumn Meetings with the director Phan Dang Di, artist Julie Beziers, director Tran Anh Hung. He is an indie filmmaker in vietnam.

Inspired by ambiguity and unique logic from the world of dreams, this series of animations explores the dynamic and beauty of the unexorcised image world by computer vector graphics.

Born in Seoul, Korea Eunjung Hwang received her MFA in computer arts from the School of Visual Arts, New York. Her animation and new media work has been shown in a number of exhibitions and festivals. She has received the Principal Prize at Oberhausen International Short Film Festival, Award for New Media at the 16th Stuttgarter Filmwinter and an Artists` Fellowship from NYFA. She was artist-in-residence at the Gertrude Contemporary Art Space, Australia; Eyebeam, New York;Lower Manhattan Cultural Council, New York and Künstlerhaus Büchsenhausen, Austria.