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Dans une cave gelée, un homme travaille à la lueur d`une lampe. Il dégèle patiemment un grand bloc de terre qui renferme le corps intact d`un Mammouth.

Ariane Michel vit et travaille à Paris, ou elle est née en 1973. Depuis ses études à L`ENSAD, un passage au Fresnoy et une résidence au Pavillon - cellule de recherche au Palais de Tokyo, Ariane Michel réalise des travaux en vidéo qui s`inscrivent le plus souvent dans des dispositifs d`installation ou de performance. On a pu les voir à l`Atelier du Jeu de Paume à Paris, à la foire de Bâle, en centres d`art ou dans des festivals de cinéma (FRAC de Reims, CRAC de Sète, MoMA NY, Festival de Rotterdam). Si son long-métrage Les Hommes, (Grand Prix de la Compétition Française, FID Marseille 06), est sorti en salles de cinéma en France en 2008, il s`inscrit dans une même recherche : offrir au visiteur-spectateur une expérience perceptive. En 2010, on pourra voir le travail d`Ariane Michel dans des expositions personnelles à la Fondation d`Entreprise Ricard (Paris) et à l`Espace Croisé de Roubaix. Ariane Michel est représentée par la galerie Jousse Entreprise à Paris. Plus d`infos sur: www.ariane-michel.com

A few years ago my elder brother was killed by two men. One of the murderers escaped punishment while the second, who alone took the blame for the crime, was later released from prison for an exemplary behaviour. This made me decide to start a socio-artistic research regarding what “exemplary behaviour” means in the case of a murderer, when and how killers behave exemplarily. In summer 2014 I started to develop feature-length creative documentary “Exemplary Behaviuor”. Logline of the documentary says: The documentary explores the paradox of exemplary behaviour in murderers currently serving life sentences in Vilnius’ Lukišk?s prison and hoping to return to society. “Exemplary Behaviour” is a journey of transformation for the author, the murderers, and society who are searching for tolerance among humans. Now the documentary developed into a big scale socio-artistic transmedia project. “Exemplary Behaviour” is a project that seeks to create an emotionally and visually strong, thoughts provoking spaces that are meant to encourage tolerance to murderers. Tolerantia in Latin means ability to bear hardship, to be patient. Today many Europeans still tend to lack tolerance towards other ethnicities, immigrants, prisoners, unorthodox thinking, etc. In this project, the prisoner becomes a metaphor for “the other”. The main goal is to encourage tolerance of “others”. Video installation “Exemplary Behaviour” is an extended format of the documentary of the same title. It concentrates on a film element called healing sequence. Film’s healing sequences are hypnotic episodes, that are meant to awaken viewers’ imagination and are related to scientific phenomenon called “Prisoner’s Cinema”. Prisoner’s cinema is mainly reported by prisoners kept in dark cells for long periods of time. It’s an experience of seeing light without light actually entering the eye. It is a visual hallucination of light created by human brain that tries to compensate for lack of stimuli and the resulting monotony

Audrius Mickevi?ius is a Lithuanian film director, interdisciplinary artist (video art, photography, architecture, installations, graphics, sound, writing), and a professor in the Department of Media Art at the Vilnius Academy of Fine Arts, a guest lecturer in European universities. He completed his architectural sudies in Vilnius (1988) and visual communication studies in Copenhagen (1996). Audrius became obsessed with cinema at a young age. In 1983 he made his first 8 mm film “Requiem for Quartet”. Since then Audrius has made 17 more films. In recent years he created several experimental, documentary, and fiction films, which were screened in various international film festivals and MoMA, New York. Since 2010 the film director has been a member of the Lithuanian Filmmakers Union. He works and lives in Vilnius, Lithuania.

If the house is merely a dormitory, just a place to eat and sleep then this is no longer the embodiment of our struggle

Carrots Movie Tape is an experimental film about Carrots Tapes: a music cassette label based in Berlin run by a Poet and a Visual Artist. Tasks at the headquarters involve stamping, printing the covers, dubbing blank tapes, planning new projects, organizing the archive and discussing ideas. Filmed in the Spring of 2020 in Super 8.

Miguel Mitlag 1969, Buenos Aires, Argentina Lives and works in Berlin, Germany Film studies at the Universidad del Cine, Buenos Aires, and Photography at I.C.P. New York. Mitlag is also a Visual Artist and shows his work frequently in solo and group exhibitions.

Man and Nature. Man and Machine. When we cross realities, something new emerges. A voice from the future is announcing a new world.

Born in 1985. He studied scriptwritting and editing. Engine is his first film.

CENTO PIEDI (A Hundred Steps) deals with recent themes of the Romanian society: identity, image and immigration for work purposes. Immigration has become a widespread phenomenon in the last couple of years. The location of the movie centers around one of the kernels of the Romanian exodus ?Rome, the capital of Italy. The Eternal City, has played a crucial role in the history of the formation and establishment of the Romanian tongue and nation (through the conquest of Dacia in 105-106 the emperor Trajan has Latinized the Dacian people around the Danube river leading to the formation of the Romanian language). In Rome, on the site of Trajan?s Forum, we can nowadays find ?Trajan?s Column? who described through exceptional relieves the two Dacian wars. This monument is not only a masterpiece of ancient Rome but also the symbol of the birth of the Romanian people. The structure of the narrative in this movie unfolds on two parallel grounds of action through which two spaces will be defined: the Internal one (inside the column of Trajan) and the Exterior one (outside the column and on the forum).

Aurelia Mihai is an artist and filmmaker born in Bucharest, Romania who lives and works in Bucharest and in Hamburg, Germany. She is professor at the Braunschweig University of Art, Germany since 2009. Aurelia Mihai?s video work has been the recipient of numerous prizes and scholarships that include the E STAR Scholarship from the Institut for Electronic Arts, Alfred, New York and the Villa Aurora Scholarship, Los Angeles, USA (2001), the EMARE Scholarship Hull Time Based Arts, UK (2004), Prize for young artists of Düsseldor (2001), Prix Spiridon-Never-DuMont (2002), Euregio Kunstpreis / Germany / NL (2005), Hamburger Arbeitsstipendium für Bildende Kunst, Scholarship Schloss Ringenberg (2005), Project scholarship for short films, BBRKM, Künstlerhaus Schloß Balmoral, Germany (2009) , German Academy in Rome, - Villa Massimo (2007), Italy, and IASPIS, International Artist Studio Programme Stockholm, Sweden (2010). Her works have been exhibited internationally at the Städtische Galerie Wolfsburg, K21 Düsseldorf, Kunsthalle Mainz, Martin Gropius Bau, Berlin, Hamburger Kunsthalle, Germany, at the Chelsea Art Museum, New York, The Cheekwood Art Museum, Nashville Tennessee, USA , Centre Pompidou, Paris, Centre International d`Art Contemporain de Pont Aven/ FR, Cobra Museum in Amstelveen, NL.

City of Bucur is a film about the foundation myth of Bucharest set in the present. Next to the hill which the legendary Bucur the Shepherd chose to settle down on, the People?s Palace now stands, the architectural embodiment of Ceausescu?s megalomaniac dictatorship and today the seat of the Romanian Parliament. In the ?making-of? format, the film tells the story of ?? a short movie production about the foundation myth in this historic location. The shepherd, the film director, and the flock of sheep all begin their parallel journeys towards the location, the place where the legend originated. The movie, which has not yet been shot, has actually been recounted indirectly before the film crew has even reached the set. We know about this projected film which will tell the tale of the city?s development in a single shot ? from its foundation myth to the present. One shot that transports a ?fiction? into contemporary reality.

Aurelia Mihai?s video work has been the recipient of numerous prizes and scholarships that include the Video Art Awards Bremen (1997), the E STAR Scholarship from the Institut for Electronic Arts, Alfred, New York and the Villa Aurora Scholarship, Los Angeles (2001) the EMARE Scholarship Hull Time Based Arts UK (2004) the Villa Massimo Rome Scholarship (2007) the Schloss Balmoral Scholarship (2009) and IASPIS, Stockholm, Sweden (2010). Her works have been exhibited internationally at the K21 Düsseldorf, Gropius Bau, Berlin, Hamburger Kunsthalle, Germany, at the Chelsea Art Museum, New York, USA , Centre International d`Art Contemporain de Pont Aven/ France, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spanien, Periferic 8 - Biennial for Contemporary Art, Iaºi, Romania and at the Centre of Contemporary Art and the Nature World, in Plymouth, UK

Rotes Kino ein Projekt von Aurelia Mihai  Die Arbeit ist als filmische Episode in zwei Szenen angelegt, sie baut auf einem Zeitsprung auf von 1610 zum 1969 und zurück. Konzipiert ist sie als filmische Schleife - (ein Loop in der Narration), je nachdem wo man in die Geschichte einsteigt, bekommt man sie chronologisch oder als Rückblende erzählt. In diesem Projekt benutze ich die Figur der Gräfin Elisabeth Báthory als bekannte Serienmörderin der Geschichte, und weibliches Pendant des transsilvanischen Mythos Dracula.  Der Legende nach hat Elisabeth Báthory in Jungfrauenblut gebadet, in dem Glauben dadurch jung und schön zu bleiben. Da es sich um eine Hybridfigur handelt (zwischen Mythologie und Historie) bleibt sie auch in meiner Arbeit eine rätselhafte Gestalt, was durch die Verschiebung in ein andere Zeit in der zweiten Szene verstärkt wird.  Hier sehen wir sie als Patientin in einer Psychiatrischen Anstalt 1969, in der Sozialistischen Republik Rumänien. Das Verhältnis von Täter und Opfer wird in Frage gestellt. Thematisiert wird hier die Problematik, die die Frauen unter dem Ceausescu Regime erlebt haben. Im Gegensatz zur sexuellen Befreiung im Westen, wurde 1966 in Rumänien per Gesetz die Einfuhr von Verhütungsmitteln verboten, um die Geburtenrate zu steigern, sowie die Abtreibung unter Strafe gestellt.

Aurelia Mihai Geboren 1968 in Bukarest, Rumänien, lebt und arbeitet in Hamburg. Studium an der Kunstakademie Bukarest, Kunstakademie Düsseldorf (DAAD Stipendium `94-`96), und an der Kunsthochschule für Medien Köln . Auszeichnungen, u.a. Villa Aurora Stipendium, Los Angeles (2001), E STAR Stipendium IEA, Alfred, N. Y. (2001), Spiridon-Never-DuMont Preis (2002), Euregio Kunstpreis / Germany / NL (2005), Hamburger Arbeitsstipendium für Bildende Kunst (2005), Deutsche Akadremie Rom - Villa Massimo (2007), Projektstipendium - Schloss Balmoral (2009). Einzelausstellungen u.a. im National Museum of Contemporary Art - MNAC, Bukarest, Rumänien (2009) Museum Goch (2007), Kunstverein Hildesheim, Marburger Kunstverein (2004), im Kunstraum Düsseldorf (2001) und in der Bremer Kunsthalle (1998). Gruppenausstellungen und Screening u.a. im Museo Nacional Centro de Arte Reina Sofia, Madrid (2005), PAN-Screening bei der 52. Biennale Venedig, Tryingtoland 2 im MACRO, Rom (beide 2007), Martin-Gropius-Bau, Berlin, Chelsea Art Museum, N. Y. und Wallraf-Richartz-Museum, Köln (alle 2006), Museum voor Moderne Kunst Arnhem, Niederlande (2005), Kunsthalle Hamburg (2004) Periferic 8 - Biennial for Contemporary Art, Iaşi, Rumänien/ RO, Robert Else Gallery, Sacramento, Californien/ USA
, CIAC - Centre International d`Art Contemporain de Pont Aven/ FR (2008), K21 Düsseldorf, Kunsthalle Hamburg, Centre of Contemporary Art and the Nature World, Plymouth/ UK
, Neue Gesellschaft für Bildende Kunst (NGBK), Berlin, Galerie Commune, Tourcoing, Frankreich und Städtische Galerie Ravensburg. (2009).

In the Skin of a Stray Dog Of dogs and men, black and white film material shot between 1992-1994 and edited twenty years later, depicting the decay of the urban environment after the collapse of Communism in Bucharest and the alternative living in Berlin after the fall of the Wall.

Dan Mihaltianu is a cross-media artist, born 1954 in Bucharest, Romania, based in Bucharest, Berlin and Bergen. His artistic approach is concern with social, political and trans cultural aspects related to the permanent changes occuring in our society, by developing long term process-oriented-projects, among others: Field Archive (1979-1989), Nature of Light (1980-1989), Official History / Personal History (1984-1994), Liquid Matter (1993-2014), Divided Files (2001-2014), Plaques tournantes (2004-20014), Celluloids (1992-2014). Since the 1980s his work has been exhibited internationally in various art events, biennials,, museums, art centres and galleries from Europe, Asia, North and South America.

Divided Cities, 2013, 03:44 min, 8mm film transfer on Full HDV, camera / editing: Dan Mihaltianu A film based on fragmented views of Berlin and Bucharest, divided between east and west, past and present, left and right, centre and periphery, rich and poor, hip and precarious, in and off. The footage is covering the laps-time between 1992-2013 in the attempt to catch the rapid transformations of the two metropoles.

Dan Mihaltianu (born 1954 in Bucharest, Romania, based in Bucharest, Berlin and Bergen) has studied at the Institute of Fine Arts Bucharest (1975-1983). He was cofounder of subREAL, Bucharest (1990); Professor at Bergen Academy of Art and Design (2001-2007), Guest Professor at Université du Québec á Montréal (2008-2009); Editor / Associate Editor of Arta Magazine, Bucharest (1990-1993 / 2011- to present). Since the 1980s his work has been exhibited in major international art events, museums, art centres and galleries in Europe, Asia, North and South America.

Montreuil. Summer 2005. Romanian families are being evicted from a squat. Among them Sorina, attempting to live in the street with dignity, with her husband and two children.

Bielka Mijoin Némirovsky developed an artistic and educational activity around artistic expression, as a actress, singer, and ethno-musicologist. She created a space of development for artistic expression and reflection around questions that are posed by the time and the societies in which we live. Projects around world songs as arousal of the culture of the "other", at the heart of elementary schools. She produced "Romani Bakht" within the framework of the training in Varan's workshops. It is her first documentary film. She has projects in progress.

Mikomikona experimentally investigates the dynamic transformability of sound into image, image into sound, and the effects of cross media interface. Devices that enable the connection and transformation of visual signals into acoustic signals and vice versa are developed and explored in different audio-visual set-ups creating a synaesthetical environment. The resulting performance modules all share the idea of new symbolic coding of media information and are also used for live VJ-ing. For the performances the artists work with analogue media like overhead projectors, super-8 film projectors, video projectors, and visual devices and sound. Mikomikona uses the simultaneity and speed of analogue electronic circuits. Their interest is more within the field of synthesizers (modulated), rather than the paradigm of sequencers (serial, clocked, and triggered, as used in digital environments). Theoretical approach: transformation noise. By transforming information into different media formats, snippets of transformation noise - bruit parasitaire - are received that reflect there shifted use of media technology. The transformation noise is media specific by revealing the media structure itself. In terms of acoustic-visual performances Mikomikona explores the dynamical transformability of technical image into sound and vice versa. By these means synaesthetic bypasses are compressed and media content is newly coded. Computer experience makes transparent the exchangeability of code: the use of binary coding to represent image, text, and sound. The binary code seems to be the omnipotent currency in which nearly all content may be saved and reproduced.

A child falls endless stairs carrying with himself a log. Down the stairs he is transformed and possed by a carillon music and he will dance till exhaustion. Quoting directly film references, fairytales, music video and personal mitology the video explores the category of banal to a border where it becomes a source of fantastic and mystrious imagery.

Born in Florence(IT) 1979, resident in London 2003 Degree in D.a.m.s (Interdisciplinary Art Practices) University of Bologna. 2006 MA Fine Art at Central Saint Martins College, London. 2007 Advanced Course of Visual Arts, visiting professor Joan Jonas, Fondazione Antonio Ratti, Como. He has shown his work in private galleries, group shows and festivals. He is one of the winners of the Movin?Up 05 Prize and he collaborates in parallel projects with magazines and music labels.

This film documents four delegated performances/castings, featuring participants who are both directly and indirectly actors of war: veterans, civilian victims, disabled individuals, or those traumatised by conflict. Applicants that have been seduced to participate in four castings of imaginary movie altogether agreeing to be part not only of an experimental film, but also of a subversive cinematic social experiment. They signed up for battle in the movie, and got an unexpectedly brutal lesson about conflict. They certainly, but so do we who watch it. With this poignant cinematic depiction of the personal and far-reaching impacts of war, this sobering antiwar movie project raises questions about the allure of violence and war that is so frequently simulated in the media surrounding Western culture. The encounter with real-life victims of violence forces a reckoning with their motivations and exposes viewers to the raw realities of trauma. The project emerges as an inexorable impasse, not for those who perish within it, but for those burdened by the enduring scars of trauma and violence. The Final Battle film coincide with wars in Ukraine and the Middle East, both of which have come to normalize accelerated militarization and expanded conflict as a fact of everyday life. Both artistic and cinematic project attempts to contend with this deadly spiral of violence, which has a widespread psychological effect that prevents purposeful articulation and functions to undermine processes of reconciliation and social repair.

Born in Zenica, Yugoslavia in 1981, he completed secondary school in Doboj. After secondary school, he attended the Reserve Officers' School, where he attained the rank of sergeant. As a sergeant during his military service, he trained 30 soldiers. He enrolled at the Academy of Arts in Banja Luka in 2002 where he finished his Bachelor's and Master's degrees in painting. He holds PhD thesis in New Media at the University of Arts Belgrade. At the beginning of his art practice, he was included in the international selection of artists under 33, "Younger Than Jesus - Artist directory," by New Museum curators Laura Hoptman and Massimiliano Gioni. He has participated in various group shows, including the 55th Venice Biennale, 15th Busan Video Biennale, and the recent 13th Cairo Biennale. He has also held solo shows and projects at MUMOK in Vienna, Gallery MC in New York, ACB Gallery in Budapest, Antje Wachs Gallery in Berlin, Neue Galerie Graz, and others.

The Museum of Contemporary Art in Zagreb was established in December 1954 as the City Gallery of Contemporary Art , with the purpose of following, documenting, and promoting contemporary art events, styles, and phenomena. Throughout almost half a century of its existence, the Museum ? as it is now known ? has undergone a number of changes, from its name, the space available, the number of collections and their contents. Its fundamental commitments have remained constant however ? presentation of contemporary art and the creation of conditions favourable both to the understanding and enjoyment of Croatian and international art alike, as well as ensuring that the exchange between creative and interpretative experience be as dynamic as possible. The Museum's collections include holdings which show the beginnings and logical development of individual artistic tendencies, as well as their direct and indirect impacts on the production that followed chronologically. The collections simultaneously embody the reality of Croatian artistic production within a specific period in relation to the synchronous points of development of European or global art. The largest part of the Museum's contemporary art collection consists of works by both Croatian and foreign authors created after 1950, while a smaller part is comprised of pieces dating back to the first half of the 20th century and whose presence is essential for grasping the concept of both modern and contemporary art. The collections currently include some 9000 works of both modern and contemporary art, which shall finally become available to the general public in the new Museum building. Following long-standing attempts to situate the Museum in a suitable space, it was decided to build a brand new museum in the new part of Zagreb, and has been under construction since 2003. The building takes up a total surface area of some 14,500 square meters, of which 4,800 are foreseen for the exhibition spaces. This geometrically divided volume, with its five floors, is expected to become a recognizable emblem of the city in the near future.

Tihomir Milovac is a senior curator at the Museum of Contemporary Art in Zagreb, and is the head of the Experimental-Research Department at the Museum. As a curator and art critic he has curated many exhibitions and other visual arts projects in Croatia and abroad, most often engaged in new, contemporary phenomena in visual arts, especially new media, but also the phenomena of historical avant-garde. He had edited numerous publications and catalogues, and curated exhibitions like Kasimir Malevich, Retrospective, 1990; Ukrainian Avant-garde 1910?1930, 1990/91; Andres Serrano: Buapest/Morgue, 1996; Jan Fabre: Passage, 1997/98; The Future is Now ? Ukrainian Art in the Nineties, 1999?2000; The Baltic Times ? Contemporary Art from Latvia, Lithuania and Estonia, 2002; Misfits: Conceptual Strategies in Croatian Contemporary Art, 2002; Sanja Iveković: Women's House 1998-2002, 2002; System of Coordinate ? Russian Art Today, 2004; Zlatko Kopljar: Compassion +, 2005; Insert ? Retrospective of Croatian Video Art, 2005.

A normal day for Gabi is a day when she works in Italy but looks forward to the next reunion with her twelve-year-old son. She returns to Romania for a brief visit, expecting to spend a few days with him. Upon arrival, she finds out she can only see him for one day instead of three. Seven years after 'Fragments of Gabi', 'Wait Two Days' is the second episode in Gabi's journey towards self-love, towards having peace with herself. (Logline: On a brief visit to her home country, Gabi learns she can only see her son for one day instead of three.)

Jaro Minne (Belgium, 1992) is a filmmaker who frequently works on the East-West crossover. He studied at the Helsinki Film School and LUCA School of Arts in Brussels, graduating in 2015. Member of the collective Tsalka Film. Various festivals have screened his work, including Oberhausen ISFF, Rencontres Internationales Paris/Berlin, Maryland FF and Message to Man St. Petersburg. In 2024, his new film Sudden Rain will be released.

Winter. A fifteen-year-old girl in a remote Georgian village tries to get closer to her older brother, just as he decides to leave home in search for work abroad.

Jaro Minne (b. 1992) is a Belgian writer/director who frequently works on the East-West crossover. He studied at KASK Ghent, Helsinki Film School before completing a master degree at LUCA School of Arts in Brussels in 2015. His work combines intimacy with distance, often exploring rootlessness and family dynamics.

"Reality TV", as its name suggests, confronts the spectator with the false reality concepts represented by the media which itself defines false reality concepts and behaviours as what is usually called 'real life'. This supposed reality is represented by small fragments of typical TV commercials and shows, each of them displaying just the moments of false ecstasy, out of their original context. For example, the sequence in which the model describes emphatically how a certain shampoo completely changed her life, or one in which the model holds a cardboard box (of cereal? washing machine soap? You may choose) in a quasi orgasmic posture. As opposed to these, we start to conceive the dimmed image of a typical bourgeois family sitting in front (or inside?) the TV set, an image which shows the only "real reality" present. But, what can we say; this reality of captive zombies sitting in front of the commercials doesn't look as glamorous... We still have the baby, who ? for the moment ? is the only one to demonstrate some kind of reaction. The structure of the movie supports the message both in the visual and musical way: each commercial fragment represents a module which can be displayed before or after any other module in a random way. Each of these modules contains its own specific music. A random sequence of these modules results in a monotonous white noise stream made of ecstatic fragments.

Ariel Mioduser was born in Buenos Aires, Argentina, and now lives in Jaffa, Israel. He earned a diploma at the Bezalel Academy of Art and Design, Jerusalem, and a M.A. at Alcala University, Spain. He teaches in the Digital Art Department and Visual Communication Department at the Technology Education College, Tel Aviv, Israel. After nearly two decades of commercial work, Ariel Mioduser started working on personal animation shorts - work that resides on the border between animation and art. Mioduser's work has focused on social subjects such as poverty and the culture of poverty, oppression of ethnic or gender groups, globalization, and environmentalism. In a world in which visual images serve manipulative goals, he creates from within this world and at the same time observes it with a critical eye.

A `universal map of the newly found part of the world`. A homage to Italian geographer Giovanni Battista Ramusio.

Stefano Miraglia (b. 1988 in Málaga) is a visual artist and independent curator based in France and Italy. Merging video, photography, archival documents and autobiographical elements, his moving image work stands at the intersection between abstract art and experimental animation. His films are distributed by Collectif Jeune Cinéma and have been screened at numerous international film festivals and venues, including Festival des Cinémas Différents et Expérimentaux de Paris, Pesaro Film Festival, Transient Visions and Fracto. His curatorial activities include screenings and exhibitions for Le Dôme Festival (France) and Nomadica (Italy) as well as the online project The Moving Image Catalog, of which he is the founder and main curator.

From the Vosges mountains in France, teenagers are discussing and exchanging ideas. The floor is shared: the ease of some, the courage of others, push them to speak, while others listen and observe. These roles, naturally performed, are at the heart of their conversations. Enjoying thirteen years of presence in this world, they tell us that sometimes "speaking says nothing." Two stories (one near, one far) of people their age whose words have been ignored intersect. They have spoken to try to make their realities exist, without finding an audience. When spoken words do not exist, bodies are subjected to violence (to themselves). « Treize années en présence » ("Thirteen years present") echoes adolescents whose perceptions are not devoid of accuracy or radicality. They express their visions of a fragmented world, where the artificial coexists with reality more than individuals do among themselves. They talk about the role that speech and listening play in it. If words can be actions, the silence that speech can confront also acts: it is the gesture of exclusion, of resignation.

Marianne Mispelaëre (b.1988) is a french visual artist. Her works are on display in France and abroad. She received the 2017 Grand Prix du Salon de Montrouge award.

From the Vosges mountains in France, teenagers are discussing and exchanging ideas. The floor is shared: the ease of some, the courage of others, push them to speak, while others listen and observe. These roles, performed "without thinking further", are at the heart of their conversations. Enjoying thirteen years of presence in this world, they tell us that sometimes "speaking says nothing." Two stories (one near, one far) of people their age whose words have been ignored intersect. They have spoken to try to make their realities exist, without finding an audience. If words can ‘be actions’, the silence with which words can be confronted also acts. The film offers a fragmentary narrative, generated from various conversations.

With drawing as her main practice, Marianne Mispelaëre produces and reproduces simple, precise and fleeting gestures, inspired by current and social events. What happens between us, within us, throughout the daily political challenge of living side by side? Her raw material comes from contact zones: encounters, interactions, transmissions, collaborations, borrowings, negotiations, confrontations. I listen to and observe social relations, language — what it does to its users, what the users do to it. She studyis the transformations and the structure of language to rethink its conventional forms. She moves and brings together bodies, languages, visual representations (images), other ways of saying, telling and thinking the close or distant world. Her work uses a variety of mediums : wall drawing, performative action, photographic image, video, film, text, typography, installation. They are often activated and interpretated, favouring in situ and ephemeral forms. Her work have been exhibit in France and Europe (Germany, Belgium, Romania...). It takes part of several public collections. https://www.mariannemispelaere.com

Des hommes, envoyés sur la Lune pour la végétaliser, attendent l’arrivée des terriens. Au milieu de la forêt qu’ils ont fait grandir, ils racontent leurs souvenirs de leurs vies sur Terre et le monde dans lequel ils aimeraient pouvoir vivre. Mais qui sont ces hommes ? Sont-ils réels ? Ont-ils été oubliés ?

Originaire de Toulouse, Victor Missud se forme au cinéma à l’université Sorbonne Nouvelle de Paris et à la Escola Superior de Teatro e Cinema de Lisbonne, où il réalise des courts-métrages documentaires expérimentaux autoproduits. Son dernier film, À qui le monde (en production, co­réalisé avec Marina Russo Villani), est lauréat de la bourse Brouillon d’un rêve documentaire de la SCAM, de la Résidence d?écriture de Saint-Quirin et du nouvel Accompagnement aux VFX du CNC.

In Benin, the water people, who once fought against colonisation, are now facing water hyacinth, a colonising plant that reproduces at breakneck speed, suffocating the lake. Realism and imagination intertwine, as if one were only understandable or tolerable because of the other.

Italian and a graduate in Art Economics from Bocconi University, Marina Russo Villani trained in cinema and screenwriting in France, at the Sorbonne Nouvelle and Paris Nanterre. A screenwriter and director of fiction and documentaries, she co-wrote ‘À qui le monde’ (To Whom Does the World Belong), a fantastical political fable that paints a fantastical and ironic portrait of how the world works. In parallel with her work as an author, she founded her production company, Filibusta, in 2023. Victor Missud's work takes a poetic interest in people marginalised from a territory and society, who become non-professional actors and actresses in his works. Blending documentary, fiction and genre cinema, his works have been presented and awarded prizes in France and abroad - Visions du Réel, IFF Rotterdam, Hors Pistes - Centre Pompidou, Rencontres Internationales Paris/Berlin, Etats Généraux du Documentaire de Lussas. In 2024, he joined Le Fresnoy - National Studio of Contemporary Arts.