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Distance from the earth, known places, forms. A voice resonates, maybe it is the film's acting entity, maybe it is a country's. Arriving in Burkina Faso, sailing through its cities, trying to be detached from things, to stop feeling, to see. But the rigidity of cultural differences and its corruptions, the ignorance of places traps in a mental state which drives to madness, to hallucination. Low detoxification alongside Dario, a travel companion, in a town in the south. We start to open our eyes and become aware of what is hidden in the depth.

La Malastrada.film is a creation structure and dissemination research film which has chosen to make a direction method from low production. It is run by Allessandro Gagliardo, Giuseppe Spina eand Julie Ramaioli. It expresses the will to experiment on a new production/creation system that which allows to relate to numerous co-producers through the eye of an intellectual exchange and humane reciprocity. Low production means surpassing both the television and film industries, staying outside political control and multinational aesthetics, their imaginary and their stories. It is envisioning film as an instrument capable of investing in human processes and in the cultural dynamics of contemporary society, but beyond all as a means to research being, a means to "recognize the moments of feeling" as a consequence of an impulsive act.

Ar first, Gee-Jung Jun`s film debut is more reminiscent of randomly found film material from the beginning of the last century than a carefully constructed record of life in the Roma community in the French city of Lyon in 2007. In disconcerting silence, black-and- white pictures speak eloquently of people living on the edge of society. They have a quotidian quality as though they are being played out at a seemingly different time rooted in one moment without history. The director approaches his subjects with immediacy and profound human interest, but he maintains his distance in the film and offers room for reflection. This remarkable picture has picked up a host of awards at various European documentary festivals.

A South Korean filmmaker and photographer. He grew in an artistic environment. Most notably, his father's work as a painter allowed him to meet, at an early age, many of the recognized artists of his country. As an adolescent, he pursued dance and acting, in the National Theater Company. 1996: After studying acting, he turns to academic work in filmmaking and photography, joining the ?film and multimedia? department at the University of Honam. During this period, he works primarily on projects for television, as the curriculum he studies is primarily devoted to commercial activity. In 2002; in order to develop more personal, committed projects, he benefits from exchanges with the Ecole des Beaux-Arts de Saint-Etienne in order to seek out new experiences. In 2005, he begins working with the Film flamme collective. He then goes on to experiment with developing negatives ?in his bathtub? after his experiences with the film collective ?Besoin de rien" (May 1, 2006). In 2006-2007, he obtains the Diplôme National d` Arts Plastiques at the Ecole des Beaux Arts of Marseille. In 2008, he receives the Diplôme National Supérieur Expression Plastique des Beaux Arts of Geneva (Switzerland). He has also participated in several photographic exhibitions.

Distance from the earth, known places, forms. A voice resonates, maybe it is the film's acting entity, maybe it is a country's. Arriving in Burkina Faso, sailing through its cities, trying to be detached from things, to stop feeling, to see. But the rigidity of cultural differences and its corruptions, the ignorance of places traps in a mental state which drives to madness, to hallucination. Low detoxification alongside Dario, a travel companion, in a town in the south. We start to open our eyes and become aware of what is hidden in the depth.

La Malastrada.film is a creation structure and dissemination research film which has chosen to make a direction method from low production. It is run by Allessandro Gagliardo, Giuseppe Spina eand Julie Ramaioli. It expresses the will to experiment on a new production/creation system that which allows to relate to numerous co-producers through the eye of an intellectual exchange and humane reciprocity. Low production means surpassing both the television and film industries, staying outside political control and multinational aesthetics, their imaginary and their stories. It is envisioning film as an instrument capable of investing in human processes and in the cultural dynamics of contemporary society, but beyond all as a means to research being, a means to "recognize the moments of feeling" as a consequence of an impulsive act.

Ar first, Gee-Jung Jun`s film debut is more reminiscent of randomly found film material from the beginning of the last century than a carefully constructed record of life in the Roma community in the French city of Lyon in 2007. In disconcerting silence, black-and- white pictures speak eloquently of people living on the edge of society. They have a quotidian quality as though they are being played out at a seemingly different time rooted in one moment without history. The director approaches his subjects with immediacy and profound human interest, but he maintains his distance in the film and offers room for reflection. This remarkable picture has picked up a host of awards at various European documentary festivals.

A South Korean filmmaker and photographer. He grew in an artistic environment. Most notably, his father's work as a painter allowed him to meet, at an early age, many of the recognized artists of his country. As an adolescent, he pursued dance and acting, in the National Theater Company. 1996: After studying acting, he turns to academic work in filmmaking and photography, joining the ?film and multimedia? department at the University of Honam. During this period, he works primarily on projects for television, as the curriculum he studies is primarily devoted to commercial activity. In 2002; in order to develop more personal, committed projects, he benefits from exchanges with the Ecole des Beaux-Arts de Saint-Etienne in order to seek out new experiences. In 2005, he begins working with the Film flamme collective. He then goes on to experiment with developing negatives ?in his bathtub? after his experiences with the film collective ?Besoin de rien" (May 1, 2006). In 2006-2007, he obtains the Diplôme National d` Arts Plastiques at the Ecole des Beaux Arts of Marseille. In 2008, he receives the Diplôme National Supérieur Expression Plastique des Beaux Arts of Geneva (Switzerland). He has also participated in several photographic exhibitions.

Dans une grande carrière de roche, une explosion révèle un objet venu d’un autre temps.

Lou Rambert Preiss nait en 1993. Après une licence de Philosophie à la Sorbonne, il entre en Bachelor Cinéma à l’Ecole Cantonale d’Art de Lausanne. Il vit maintenant à Paris.

Jonathan, a lonely teenager, is used to dress up like his favorite virtual singer. Finding a fellow on internet lets him dream of a date and hope for a bit of humanity...

Lou Rambert-Preiss was born on August 10, 1993 in Paris, France. He is known for his work on Dans Paris (2006), La nuit sera longue (2003) and Ein weiterer Mann in Eile (2018).

Experimenting with custom made lens filters to diffuse and distort, I Found Water is an autobiographical film that contemplates memory and experience.

SJ.Ramir is a New Zealand filmmaker residing in Melbourne, Australia. His films are concerned with existence and its relationship to, and occupation of, geographical space. The landscapes and structures in his films are a mix of actual locations and constructed 3D models.

Our hands cannot resurrect. Set amongst the shadows of a grainy, dystopian landscape, "We Are Without" is a visual response to life, death and self-delusion...

SJ.Ramir is a New Zealand filmmaker residing in Melbourne, Australia. His films often contain scenes of lone figures moving across remote and isolated geographical landscapes. The landscapes and structures in his films are a mix of actual locations and constructed 3D models. The prominent style of his films came from early years of experimentation with custom-made lens filters. These filters enhanced video pixels and produced hazy, distorted images, which Ramir felt were visually suggestive of emotional states connected with a central theme in his work: isolation. His films have been screened at many prestigious film festivals worldwide, including the 67th Venice International Film Festival, International Film Festival Rotterdam, Melbourne International Film Festival, Jih.lava IDFF and the Oberhausen International Short Film Festival.

A valley starved of light. Weariness. Fatigue. An offering of shelter; a surrender of breath...

Originally a photographer, artist/filmmaker SJ.Ramir later moved to digital video - shooting scenes of lone figures moving across remote and isolated geographical landscapes. The landscapes and structures in his films are often a mix of real and/or constructed 3D models. The prominent style of his films came from early years of experimentation with custom-made lens filters. These filters enhanced video pixels and produced hazy, distorted images, which Ramir felt were visually suggestive of emotional states connected with a central theme in his work: isolation. His films have been exhibited at art galleries worldwide and screened at many prestigious film festivals including: the 67th Venice International Film Festival, International Film Festival Rotterdam (2009 and 2010), Edinburgh International Film Festival (2012 and 2013), Melbourne International Film Festival (2011) and the International Short Film Festival Oberhausen (2009).

“On the morning of my death – just after sunrise, and before my spirit had departed, a mysterious figure entered the house... “ In This Valley My Heart Is Buried Deep, is an experimental narrative that uses a combination of visuals and text. Based on an actual dream, the video explores what it means to belong; connection to the land; connection to a place…

Originally a photographer, artist/filmmaker SJ.Ramir later moved to digital video - shooting scenes of lone figures moving across remote and isolated geographical landscapes. The landscapes in his films are often a mix of real and/or constructed 3D models. The prominent style of his films came from early years of experimentation with custom-made lens filters. These filters enhanced video pixels and produced hazy, distorted images, which Ramir felt were visually suggestive of emotional states connected with a central theme in his work: isolation. Ramir’s distinctive films have screened at numerous film festivals worldwide including the Venice International Film Festival, International Film Festival Rotterdam, Edinburgh International Film Festival and the Melbourne International Film Festival. He currently resides in Melbourne, Australia.

A man with no memory walks through the hall of honor of the former national congress of Chile, a place that was closed during the military dictatorship and that has become an important place again during the writing of the two new failed constitutions in Chile. In front of him is the famous painting of Pedro Subercaseaux that represents the discovery of Chile, this man without memory tries to remember our national anthem. Through this effort is built this film that seeks to make us travel inside an imaginary landscape in the heart of the History and architecture of the main hall of governmental power in Chile, where all presidents promised a fairer and better country ... this landscape is Chile : an experiment of neoliberalism that, despite everything, continues to breathe on our sky and dream

Enrique Ramírez was born in 1979 in Santiago de Chile. Since 2007, he lives and works between Paris (France) and Santiago (Chile). He studied popular music and cinema in Chile before joining the postgraduate master in contemporary art and new media of Le Fresnoy – Studio National des Arts Contemporains (Tourcoing, France). In 2014 he won the discovery price of Les Amis du Palais de Tokyo, Paris, France. He has since exposed in some major places as Le Palais de Tokyo, Centre Pompidou, Espace Culturel Louis Vuitton or le 104), France (le Grand Café, Saint-Nazaire) and in Central and South America (Museo Amparo, Puebla, Mexico ; Museo de la memoria, Santiago ; Parque de la memoria en Argentina, Buenos Aires). In 2017, he is invited to the 57th International Art Exhibition - La Biennale di Venezia curated by Christine Macel, Ramírez is nominated for the Marcel Duchamp Prize 2020

Video installation, which takes an internal journey through memories and landscapes: The ex-tinction of memory as well as plants and traditions. Through its inhabitants, this film talks about plants, and through them, people and their society.

Enrique Ramírez est né en 1979 à Santiago du Chili. Vit et travaille à Paris (France) et Santiago (Chili). Il a étudié la musique populaire et le cinéma au Chili avant de rejoindre en 2007 le Studio National des Arts Contemporains-Le Fresnoy (Tourcoing, France). En 2013, il a remporté le prix des Amis du Palais de Tokyo, Paris, France. En 2014, il remporte le prix Loop fair, Barcelone. Il a notamment exposé au Le Palais de Tokyo, Centre Pompidou, Espace Culturel Louis Vuitton, IX Bienal international d?art, Bolivie; Museo Amparo, Puebla, Mexique; Musée de la mémoire, Santiago; Centre Culturel MATTA, Argentine, Buenos Aires et au Grand Café à Saint-Nazaire. En 2017, il est invité par Christine Macel à participer à l?exposition "Viva Arte Viva" de la 57ème exposition internationale de la Biennale di Venezia Aujourd?hui Ramírez est nominé au prix Marcel Duchamp 2020

In this twilight work, the sea appears calm or turbulent: effusions of foam stand out against dark matter, the beam of light mechanically pierces the night sky, and multiple voices accompany this elemental choreography. One voice invites us to discover the beliefs of certain Native American tribes, who felt that the white marks in the sky (the stars) were holes through which entered the light of the universe, where darkness did not exist. Other famous voices revive great moments of political history, burning words that have guided humanity, or evocations of tragic events that have left it distraught. This confirms the existential and generic dimension of Enrique Ramírez’s universe, profoundly structured by the motif of cycle, revolution and eternal beginnings. There is no moralism in this meditative approach: the artist suggests rather the clandestine development of thought, and the experience of immersion in the noise of the world.

Enrique Ramírez. Born in 1979 in Santiago, Chile. He has a master degree in Contemporary art and New Media in Studio National of art contemporain Le Fresnoy, France. Enrique Ramirez’s work could be described as poetic incursions towards the humanization of contemporary dystopias. His film-installations and photography deals with the politics of exodus and exile and the discontinuity of memory, but for Ramirez this always means an arduous search into subjective imaginary. The vast landscapes that often appear in his works are conceived as geo-poetic spaces for imagination, territories open for vision and deambulation. The mood of the images is a contemplative one; the landscape, the breeze, the water, the sand, they all seem to work together in an effort to place a subjective view.

?Breezes? is a ten minute film of sequence shot while the camera crosses the Presidential Palace (Moneda). This film deals mainly with the memory of a place which was the scenario of the Coup d'Etat and the return of democracy, a place which was the cradle of tragedies and joys of a whole race.

Enrique Ramirez was born in Chile in 1979. There he studied music and audio-visual communication with cinematographic touch, and is currently a professor with the National Studio of Contemporary Arts Le Fresnoy. The artistic path of Enrique Ramirez was profitable and intense. His attentive perspective of contemporary history is reflected in his works: popular culture in its funk expression in ?the Central Track? (2003), the invention of enemies for the intervention and the occupation of other people, and the open or underhand complicity of the rest of the world in ?the Allies? (2003), the stories of immigrants in ?the Landscape? (2007), the history and the memory in ?Breezes? (2008). Ramirez works with two central elements: an object which is attached directly to the concept which works and a projection with sequences of images on the object. In this way, it brings up to date and contextualizes the object by instigating it with the means of the movement which the images create, while creating at the same time channels of correspondence between the various components of work.

The game follows ideas such as design by subtraction. A world devoid of time and space where the great dichotomies of human thought no longer cast a shadow. A post-anthropocentric world with a non-hierarchical structure. Here we cannot orient ourselves, which defies our understanding in a refreshing way and makes us forget - at least for a few moments - who we are; where we come from; and that we believe we are of particular importance. Forced Amnesia follows a simple instruction pattern: explore and you will find. As it is devoid of language all we have to do is follow our instinct. What we learned in games that we played before. The idea for Forced Amnesia started 2023 as an art exhibition, which led to the development of a video game. Forced Amnesia is a game with focus on quiet moments, inspired by the concept of design by subtraction, philosophy introduced by Fumito Ueda. The game gives the player lots of space to navigate through. Forced Amnesia’s aesthetics moves through a stage of comforting uncertainty, the player does not know if they are above or under water, swinging or flying. This state, fused with a calm soothing musical score creates a space for relaxation and calm. Places that nowadays are getting increasingly harder to find. Forced Amnesia aims at an older generation of gamers. Gen X and Gen Y will be the first generation to grow old playing video games. As we slowly age, our lifestyle and perception changes, Forced Amnesia is there to accompany us.

Mary-Audrey Ramirez studied under Thomas Zipp at the University of the Arts in Berlin Germany from 2010 to 2016. In 2019 she was the recipient of the prestigious Edward Steichen Award in Luxembourg for her textile-based sculptural and pictorial works. Early 2025 Ramirez’s Qrst percent for art work will be Qnalized in Berlin Spandau. Her works have been shown in both solo and group exhibitions at institutions such as Casino Luxembourg, forum d’art contemporain, Luxembourg; Kunsthalle Gießen, Gießen; Dortmunder Kunstverein, Dortmund; TRAUMA BAR UND KINO, Berlin; Kai 10 Arthena Foundation, D sseldorf; Haus Mödrath, Kerpen; Margot Samel Gallery, New York City; Polansky Gallery, Prague and MARTINETZ, Cologne. She was also part of Esch2022+ARS ELECTRONICA, Luxembourg/Linz. “Ramirez creates a dense image of a world with her figurative representations in pictures, objects and games, It is a world devoid of time and space where the great dichotomies of human thought no longer play a role. A post-anthropocentric world that is not organised hierarchically. A world in which we cannot orientate ourselves, which defies our understanding in a refreshing way and makes us forget, at least for a few moments, who we are, where we come from and that we believe we are of particular importance” - (Annekathrin Kohout)

CONFLUENCE centers around Serbian pop singer and former child star Doris Bizeti. In a mixture between pop and lecture performance Doris’ biography is conflated with histories of architectures in Belgrade.

Stefan Ramírez Pérez (*1988) was a participant at the residency program Schloss Ringenberg in 2018. He studied at the Academy of Media Arts Cologne from 2010 - 2017. His works have been screened at International Film Festival Rotterdam, International Short Film Festival Oberhausen, Visions du Réel Nyon and Julia Stoschek Collection Düsseldorf, among others. He had recent Group and Solo shows at Artothek Cologne, Kunstmuseum Bonn, Museum of Contemporary Art Belgrade and Alternative Space LOOP, Seoul. He received the Chargesheimer Scholarship by the City of Cologne in 2018, and the Graduation Award by the Academy of Media Arts Cologne in 2017. Benjamin Ramírez Pérez (*1988, Germany) lives and works in Cologne. He studied at the Academy of Media Arts Cologne from 2009-2015 with Phil Collins, Matthias Müller and Julia Scher. He undertook the residency programme at de Ateliers from 2016 - 2018. His works have been screened at Locarno, Edinburgh, Toronto and Rotterdam International Film Festival, among others. He had recent Group and Solo shows at Artothek Cologne, Kunsthalle Recklinghausen, Kunstmuseum Bonn, Museum of Contemporary Art Belgrade and Alternative Space LOOP, Seoul.

"In April 9, 1948, when the Liberal Jorge Eliécer Gaitan was killed, the crude period called La Violencia started in Colombia: Conservatives and Liberals created armed groups to kill each other. Today, 54 years after, SHE, from the distance, and HIM, fighting against Parkinson, narrate their story, demonstrating that the "historic facts" not only interrupted the development of the national life, but also the conslusion of unknown personal stories." source:proimagenescolombia.com

Created based on research conducted during a 2018 residency at LIFT (Liaison of Independent Filmmakers of Toronto), SUMMER HEAT AN EARLY FROST combines the narrative structures of film, documentation, photography, cinematographic staging, and interview into a collage on the organizational principles of our perception. Similar to a stream of consciousness formed of constantly expanding recordings that proceed as the common denominator between a partially sensory, partially mechanically narrative voice and a screen text that fluctuates in intervals between narration, commentary, and subtitle, the image flow comprises a number of visual resources: arranged rhythmically behind an archival setup of vintage pornographic magazines from the University of Toronto’s Sexual Representation Collection, the marked text passages on film theory are taken from a collection of essays by Russian formalists. A multi-layered and narrative complement is present in the form of excerpts from “An Early Frost” (1985)—the first mainstream TV feature film to address the emerging public, social, and political crisis surrounding the spread of HIV/AIDS as part of the everyday life of a US family. Quietly and with an almost static austerity, set pieces from early silent films of the 1920s such as those from Jean Epstein and Dziga Vertov are superimposed across from sexually fetishized sequences of self-produced montages from tooth and mouth recordings, only to be expanded upon in the form of a new cut expounding on the pornographic industry’s digital infrastructure. Massed like a cluster of findings from a multimedia, multi-thematic search for the internal logics of filmic and documentary mechanisms of production and affect—whose focus potentially also stretches to include the representation and repression of queer desire, longing, and craving—the montage opens up a different access to images and their language; a language whose essence is concealed in the multiplicity of the information gathered and which, transferred via data-mining technology into the artistic process of the film, facilitates the recognition of patterns of regularity and of hidden interrelations.

Benjamin Ramirez Perez, is visual artist working primarily with film, video and installation based in Cologne, Germany. He was a participant at De Ateliers Amsterdam from 2016-2018 and studied at the Academy of Media Arts Cologne from 2009–2015 with Julia Scher, Phil Collins and Matthias Mueller. His works have been screened at IFFR Rotterdam, Locarno, Edinburgh and Toronto International Film Festival, as well as Julia Stoschek Collection Du?sseldorf, Kurzfilmtage Oberhausen and Visions du Réel Nyon among others. He had group and solo exhibitions at Artothek Cologne, Kunstmuseum Bonn, Museum of Contemporary Art Belgrade, de Ateliers Amsterdam, Gallery Markus Luettgen Duesseldorf, and more. In 2015 he was awarded the Chargesheimer Scholarship for Media Art by the City of Cologne and in 2013 he received the Prize of the German Association for Film Journalists.

DESPAIR works with cinematic reenactments, which are connected in an associative collage-like layering into an experimental film, taking Rainer Werner Fassbinder’s film of the same title from 1977 as its starting point. Drawing on and digressing from various complementary sources such as Fassbinder’s contribution to "Germany in Autumn", David Cronenberg’s "Dead Ringers", the 1970s "Mission Impossible" TV-series as well as cel-animation, the theme of the cinematic double is explored and questions of identity, identification and alienation are raised alongside an inquiry into the political and cultural legacies of the German Autumn.

Benjamin Ramírez Pérez (*1988, Germany) lives and works in Cologne. He studied at the Academy of Media Arts Cologne from 2009–2015. He undertook the residency programme at de Ateliers from 2016 - 2018. His works have been screened at Locarno, Edinburgh, Toronto and Rotterdam International Film Festival, among others. He had recent Group and Solo shows at Artothek Cologne, Kunsthalle Recklinghausen, Kunstmuseum Bonn, Museum of Contemporary Art Belgrade and Alternative Space LOOP, Seoul.

Reenactments of cinematic strategies, images and fantasies tied to sex work and stage performance are layered on top of each other, focusing on embellished surfaces of bodies, objects and architectures. They intertwine and form a new entity in a female drag performance referencing 1970s cinema, sex work activism and pop choreography, which was developed in collaboration with the performance artist Liad Hussein Kantorowicz.

Benjamin Ramírez Pérez is currently a participant of de Ateliers Amsterdam (2016-2018). He studied at the Academy of Media Arts Cologne from 2009-2015. His works have been screened at Locarno, Edinburgh, Rotterdam and Toronto International Film Festival, among others. He had recent Group and Solo shows at Artothek Cologne, Kunsthalle Recklinghausen, Kunstmuseum Bonn and Museum of Contemporary Art Belgrade.

Body Snatcher conflates new 16mm material and found footage from Barbara Loden‘s film Wanda (1970) into an abstract narrative. Loden‘s film shows a character that seemingly passively navigates the world, but at the same time fights for her own identity and challenges social norms through her refusal to function as expected: „Life is a mistery to her. She doesn’t know what she wants but she knows what she doesn’t want.“ Taking fragments of the film as a starting point, objects, props and surfaces from the film were recreated, visually isolated and filmed anew. In a kind of vacuum, an abstract and associative narration touching on emptiness, failure, and identity construction slowly unfolds. A sort of parasitic science fiction remake of Wanda emerges - a layer of meaning that lies behind the film‘s plot and surface is imagined and constructed, positioning disparate elements in relation to each other and forging connections between them.

Benjamin Ramírez Pérez lives and works in Amsterdam. He studied at the Academy of Media Arts Cologne from 2009 - 2015. He was awarded the German Film Critics’ Prize for Best Experimental Short in 2013. In 2015, he received the Chargesheimer Scholarship for Media Arts of the City of Cologne. Currently, he is a participant at De Ateliers in Amsterdam (2016 – 2018).

In an initially deserted room objects slowly begin to move; they are manipulated from the off-screen space, being pulled and dragged by strings, cables or the carpet. Thus a ‘ghostly’ choreography emerges, with the objects taking on a life of their own, vanishing and reappearing. The control of these processes from the off-screen is made visible, by showing the strings attached to the objects as well as parts of the acting persons on the edge of the frame. This is accompanied by superimposed subtitles, which consist of a collage of existing film dialogue: Lines from the sub-genre of ‘gaslighting’ films are combined, taking the eponymous Gaslight (1944) as a starting point. A text assemblage on seduction and betrayal unfolds. At the same time the ambient lighting of the room gradually becomes increasingly colored, reaching an almost excessive saturation point as off- and on-screen space become reversed and a muffled pop music penetrates the room. A kind of karaoke video comes into being with the music – like many elements of the film – taking on the notion of a copy of something vaguely familiar.

Benjamin Ramírez Pérez, born in Hutthurm, Germany. Lives and works in Cologne. Studied at the Academy of Media Arts Cologne from 2009–2015. His works have been screened at Locarno, Edinburgh and Toronto International Film Festival, among others. In 2013, he was awarded the Prize of the German Federal Association of Film Journalists for Best Experimental Short. In 2015, he received the Chargesheimer Scholarship for Media Arts by the City of Cologne.

In 1974 communist authorities built the so-called ‘Memorial Home for WWII Resistance Fighters and Youth of Yugoslavia’ in Kumrovec, a tiny rural hometown of the legendary president Marshal Tito. In 1991, when Yugoslavia collapsed 11 years after Tito’s death and the Croatian War of Independence started, the Memorial Home was closed, and it remained closed until today. Several attempts to repurpose the building have failed. Still, some fighters remain...

Ivan Ramljak (born 1974) is a film critic, director and independent curator. He currently curates a short film program called Kratki utorak (‘Short Tuesday’) at cinema Tuškanac in Zagreb. So far, he has directed nine short films, four fiction ones in collaboration with Marko Škobalj, four documentaries and an experimental film. His most successful film so far was ‘Kino otok’ (Islands of Forgotten Cinemas) which was screened on more than 25 international festivals, and won 6 awards, including the FIPRESCI prize for Best Eastern European documentary at goEast FF in Wiesbaden. In 2016 he enrolled the master study of documentary directing at the Academy of Dramatic Art in Zagreb. ‘Home of the Resistance’ is his first medium length film.

This film introduces Christian Lagny, former owner of a dodge car and the filmmaker´s uncle. Until a few years ago Christian Lagny used to travel from village to village and work on the funfairs in southern France. Now he lives in ?Canet?, a small village not far from Montpellier in an old Camper just with his mother. The second protagonist of the film is his brother in law Luc Archer, who is still working as a fairground worker. The starting point is interviews in which the two men tell about the funfair business, the changes and the peculiarities of a life on the road. The interviews tell more and more about personal details and the story of Christian Lagny?s life. With great frankness he reveals his opinions, wishes and mistakes. Why did he stop working? Why is he living alone? How does he judge the family changes? How can he get his life cleared out? A life between tradition and work, full of inconsistencies, anecdotes and great cordiality unfolds step by step. Going further, the filmmaker dwells on personal memories: The summers spent on the funfairs and his relation to his uncle. Starting from his first impressions about funfairs today and goes through a visual time-travel that takes him closer to his uncle.

Steffen Ramlow was born in 1974 in Berlin. After his highschool diploma, he worked as a lighting technician and props man for several theaters in Berlin, Hamburg and Wolgograd (Russia). He started artistic training at the Arts University of Berlin, where he studied video and photography with Maria Vedder, cinema with, amongst others, Harun Farocki, Klaus Wyborny et Heinz Emigholz. In 2004 he passed his diploma in experimental media creation. He co-published "Der Taktstock" (Zsolnay editions) in 2001, and took part in numerous exhibitions and cinematographic programs. He worked as a lighting technician and filmmaker in Berlin.

Je pars à la découverte de mon père, distant depuis des années, cherchant à rétablir notre relation boiteuse et longuement négligée.

Ayant étudiée le cinema à l'Université Saint Joseph de Beyrouth, Liban, je me présente comme étant une réalisatrice en herbe, qui cherche à communiquer sa propre perspective de la vie, à travers le documentaire.

Today, those who pass the old Estrada do Corredor (Corridor Road), on the way to the station or coming back from work, see bars, automobile repair shops and commercial shops. On the sidewalk there are people working, waiting for the bus, looking at the street or the screen of the smartphone. To see everyday life, that one full of gestures, we should suspend time, almost to stillness. This is how the minimal expressiveness is revealed and the street is no longer a place of passage and becomes something similar to a tissue, which incorporates everything and everyone, day and night.

Diego Ramos is a historian (Unifesp-2018) and a visual artist. His research on the audiovisual area focuses on experimental cinema and video art. Among his various works, the highlights were the short films at ASIFF - African Smartphone International Film Festival (2018); DOBRA - International Experimental Film Festival (2018); V Fotoativa Projection Exhibition (2019).

A film about how we are haunted by, and in turn haunt our ancestors, and a family who cannot agree on how to tell their own story. Family Fugue is a chase in three movements in pursuit of a white snake, a red duchess and a golden boy, spanning eight centuries and starting in a cave. Beginning with the family's origin story of Neish de Ramsay, a 13th century wizard who was said to have cured king Alexander II of Scotland using a potion from a white snake; it continues with Katherine Stewart Murray, Duchess of Atholl, a trailblazing female MP in the early 20th century who fell out of politics because she vocally opposed fascism; and concludes with David Ramsay, a polymath prankster whose life was terminated abruptly during action in World War II, suggesting his death was not final. Playing with these histories as a score to be interpreted, using documentary, reenactment and lush theatrical tableau, the film allows disagreement, criticism and self doubt to flow in and out. ‘Life is not the wick, nor the candle, it is the burning’ Katherine Stewart Murray

GF Ramsay (b. 1988, Dundee, Scotland) is an artist working with poetry, ritual and analogue filmmaking. In 2017 & 2018 he burned hundreds of people’s regrets inside volcanoes across Eurasia. His fake epic poem Raven’s Reprise (2020) tells of a trickster raven travelling through the pandemic and remaking the world to her better designs. His short film CASTOROCENE (2021) sees beavers re-build the world after humans have destroyed it. Mid length film Family Fugue (2022) is about how we are haunted by, and in turn haunt our ancestors. Forthcoming films Nursted from the sleep side (2023) and Flesh, Wax & Glass (2023) deal with the idea of a place falling asleep, and the impossibility of filming sacred rituals respectively. He is currently making plans to have his body thrown into a volcano after he dies. In 2023 Ramsay was shortlisted for the Margaret Tait Award. He has collaborated with artists and scientists such as CAConrad, Clive Oppenheimer, Alexander Hetherington, Coby Sey and Mica Levi.

Title Abandoned Dog - 2008 Animation 4 minutes 20 seconds Narration is the principal characteristic of Marco Raparelli`s animations. Nevertheless, it is not a point of departure, but rather the consequence of a deviation of themes that are evoked by sensations transmitted from other images or drawings. The animations are free and extemporaneous deviations of images, which connect to each other to create infinite microcosms. Raparelli?s most recent animation tells the story of an abandoned dog who, while walking towards the sea, encounters different adventures, friends and nemeses and faces manifold abstract situations. The video functions as a sort of metaphor for life in which the dog plays the protagonist. He is an outcast who must cope with how to survive each impending new day. The video?s soundtrack consists of a piano score by Cosme McMoon. In the 1940s McMoon often accompanied the American soprano singer Florence Foster Jenkins, a rich heiress who, while having mediocre melodious qualities, was able to perform thanks to being very wealthy. Both McMoon and Foster Jenkins were anthropological phenomena and their absurdist songs serve as an appropriate soundtrack to the video?s images.

Biography Marco Raparelli was born in Rome on 12 July 1975. He graduated at the Accademia di Belle Arti di Roma and studied animation at the College of Art of Loughborough, London. He collaborated to the satiric weekly magazine ?Cuore?, and afterwards worked for a period of time as author of comics. In his artist practice he employs drawing painting and stop-motion animation. He has exibited widely. Group show include ?Emporio? Via Farini(2001) Milan, ?Lavori in corso? curated by Roberto Pinto (2002) Milan, ?3500 cm? Rialto S.Ambrogio, Rome curated by Lorenzo Benedetti, Grand1th:Cult media ?Bastart contemporary, Bratislava (2006) , "Clearly Invisible", Consulta - Centre d`Art Santa Monica, Barcelona, (2007) curated by Filipa Ramos, ?Animotion? Gallery F15, Moss Norway curated by Bjorn Hegardt(2007), New Entry Careof Milan curated by Chiara Agnello, Opla video animation from Italy Galerie Vanessa Quang Paris, curated by Raffaele Gavarro , Screening Haunch of Venison London, A,B,C,D,M,N,Z. Fondazione Bevilacqua La Masa Venice curated by Chiara Agnello, One of these things is not like the other thing, Gallery unosunove Rome curated by Raimundas Malasauskas, Sarah?s Journey Section of the 7th Bulgarian Biennal of Contemporary Art in Varna, Bulgaria , curated by Lorenzo Bruni. Solo show include "Pina ti amo Catania", Gallery Ugo Ferranti, Roma (2005), ?As a drop of water on a K-way?, Careof, Milan (2007) ?As. A drop of water on a K-way? Uqbar Berlin Curated by Marina Sorbello.. His book As a drop of water on a k-way is editing by fine arts unternehmen books. His next solo show will take a place in january 2009, in Umberto di Marino Gallery, Naples.

Narration is the principle characteristic in the video animations of Raparelli. However, rather than a point of departure, it is the consequence of a deviation of themes that are represented by very precise images and drawings which transmit or evoke sensations. The narrative is a free and extemporaneous deviation on an image that connects to others to create infinite micro-worlds. Ristorante Italia ? 2007 animation 4 minutes 36 seconds A sometimes unexpected, sometimes forboding, chain of events take place inside a dive restaurant. The viewer is eyewitness to the occurance of the restaurant?s normal working and other activities that occur without beginning or end. Only the eventual arrival of evening suggests possibile relief or a truce.

Marco Raparelli was born in Rome on 12 July 1975. He graduated at the Accademia di Belle Arti di Roma and studied animation at the College of Art of Loughborough, London. He collaborated to the satiric weekly magazine ?Cuore?, and afterwards worked for a period of time as author of comics. In his artist practice he employs drawing painting and stop-motion animation. He has exibited widely. Group show include ?Emporio? Via Farini(2001) Milan, ?Lavori in corso? curated by Roberto Pinto (2002) Milan, ?3500 cm? Rialto S.Ambrogio, Rome curated by Lorenzo Benedetti, Grand1th:Cult media ?Bastart contemporary, Bratislava (2006) , "Clearly Invisible", Consulta - Centre d`Art Santa Monica, Barcelona, (2007)curated by Filipa Ramos, ?Animotion? Gallery F15, Moss Norway curated by Bjorn Hegardt(2007), New Entry CareOf Milan curated by Chiara Agnello. Solo show include : ?Pina ti amo Catania? gallery Ugo Ferranti Rome, ?Restroom and other stories? gallery Sergio Tossi Firenze Curated by Raffaele Gavarro, ?As a drop of water on a K-way? Careof Milan, project with Norberto Dalmata and Scintilla Robina.

Filmed in the remote hamlet of Juan Antonio, Cuba, just before it was wiped out by a hurricane, El árbol de las fresas (The Strawberry Tree) tests the boundaries between anthropology, documentary and reverie while capturing the final sigh of one of Cuba`s last fishing villages. The villagers? ingeniousness and resilience, as well as their playful and irreverent relationship with the filmmaker, render a sensitive portrait of a unique culture into a reflection on documentary filmmaking and on humanity on the edge of time.

Simone Rapisarda Casanova is a former computer scientist. He grew up in rural Sicily and currently lives in Montreal, Canada. He holds a Master of Fine Arts in film production from York University in Toronto. El árbol de las fresas is his first feature film.

`verbatim` A adjective 1  direct, verbatim in precisely the same words used by a writer or speaker; "a direct quotation"; "repeated their dialog verbatim" B adverb 1  verbatim, word_for_word using exactly the same words; "he repeated her remarks verbatim" `verbatim` is based in a Maurice Blanchot short text, "la folie du Jour".

Paulo Raposo is a sound and media artist based in Lisbon, Portugal. Born in 1967, after studies of philosophy and cinema in Lisbon, he has been working in the medium of live electronic and computer sound, performing, recording and exhibiting works in France, Germany, UK, Spain, Italy, Netherlands, Portugal, Baltic States and United States. His work explores the inter-relationships and displacements between digital process and architectural spaces, using computer and custom-built software to create abstract and delicate soundscapes. Since the late nineties, he started also exploring intersections between sound and image taking advantage of the digital medium real-time possibilities, both in solo performances and collaborative work. He has "composed" moving images to several media: instalations, dance, performance, theatre and intermedia projects. Raposo performed and colaborated with numerous artists, including Janek Schaefer, Jason Kahn, Kaffe Mathews, Marc Behrens, Jgrzinich, Zbigniew Karkowski, Matt Rogalski, Carlos Santos, Carlos Zíngaro, Christopher Murphy, Koji Asano, Sara Kolster, among others.