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Inspired by the children’s book About Two Squares created by El Lisstzky exactly 100 years ago, Transient Witness simultaneously merges and obscures the intimate from the public, in a story where the actions of collecting and stealing function as synonyms and inheritance and loss immerse. It is a fictional story of the transfer of the objects from the private house of avant-garde collector Egidio Marzona in Berlin to their new domicile – the Japanisches Palais, a Rococo building that belongs to the Staatliche Kunstsammlungen Dresden (SKD). The plot is told through the eyes of three main characters: Christina, the manager of the collection; Maurizio, the art mover; and Präsens the collector’s dog. Fiction meets reality: the film takes place on 25 November 2019. On that day, priceless jewelry of immense cultural value was stolen from the Green Vault in Dresden in one of the biggest art heists in history, causing a national shock in Germany. The film unfolds a complex story, navigating between historical facts about the Baroque and the Avant-garde; art and its politics.

Assaf Gruber (b. Jerusalem, 1980) is a sculptor and filmmaker who lives and works in Berlin. The dialectical relationship between the individual and the establishment is at the centre of his work, which explores how political orientations of institutions impact the lives of individuals and how institutions choose to represent and communicate facts and artefacts. Gruber studied at the Cooper Union in New York and is a graduate of the École Nationale Supérieure des Beaux-Arts in Paris and of the Higher Institute of Fine Arts (HISK) in Ghent. His solo exhibitions include the Muzeum Sztuki, ?ód? (2015), the Berlinische Galerie, Berlin (2018), Ujazdowski Castle Center for Contemporary Art, Warsaw (2018), among others. His films have been featured in festivals including the Berlinale Film Festival, FID Marseille (2019), and the International Short Film Festival Oberhausen (2016).

SOAP, 2020-ongoing, imagines what it would take to create a soap opera with which to infiltrate, and influence, the conspiratorial far right in Bolsonaro’s Brazil. A group of idealistic left-wing intellectuals join forces to play a populist system at its own game. Through the initial five episodes, the heroes struggle to chart a course through their own ideas and ideologies by way of quotidian dramas and veiled intrigues. But how can this small group of artists, writers and activists overcome the struggle of principles, their internal bickering and the absurdities of their own privilege to create something that resonates and has real impact with their target audience? IN Episode 5, ‘MOSES AND MONOTHEISM’, concepts clash ferociously, hand puppets scream and pray, renowned Genocide Scholars are accosted and conspiracies bleed across borders. Meanwhile, as the left-wing infiltrators struggle to make sense of their own intentions, entertaining the idea of creating a YouTube series aimed at the evangelic Brazilians, the Querdenkers (a movement that fuses protesters against Covid measures with the far-right scene thriving on a sense of crisis and apocalypse) move through plague-time Berlin like a danse macabre.

Tamar Guimarães (b. Belo Horizonte, BR, lives and works in Copenhagen and Berlin) is a visual artist working with film and other forms of time based media. She often works with actors alongside non- actors in semi-fictional films. Recent solo exhibitions include Museo Nacional Centro de Arte Reina Sofia, Madrid; Jeu de Paume Satellite, Paris; Gasworks, London and the IMA Institute of Modern Art, Brisbane. Guimarães’ works have been included at the 33rd, 31st and the 29th São Paulo Biennial; the Belgian Pavilion at the 56th Venice Biennial; the International Exhibition at the 55th Venice Biennial; at the LACMA - Los Angeles County Museum of Art (USA); Baltimore Museum of Art (USA); the 11th Sharjah Biennial (UAE); the Banff Centre, Alberta (CA); Malmö Museum (SE); the Guggenheim Museum, NY (USA); the SculptureCenter (NY/USA); the 7th Gwangju Biennial (SK); the 3rd Guanghzhou Triennial (CN); the Jumex museum, Mexico (MX); Frac/Le Plateau, Paris (FR); CAC Synagogue de Delme (FR) and at the Haus der Kulturen der Welt, Berlin (DE). Her work has been screened at the Berlinale Forum Expanded (2019); Blackout, International Film Festival Rotterdam (2019); VIDEONALE, Bonn (2018); Anthology Film Archive, New York (2016); CPH:DOX (2013 and 2007); Images Film Festival and Experimental Media Congress, Toronto, Canada (2010); Architektur-Visionen # 1-6, Metropolis Kino, Hamburg (2015); Les Rencontres Internationales, Paris and Berlin (2014); TRAMWAY art film biennial, Glasgow (2012); Viennale Film Festival, Vienna (2011); and Oberhausen Film Festival (2009) among others. Guimarães’ work is represented in the collections of the Tate Modern (UK); the Solomon Guggenheim Foundation, N.Y. (USA); Museo Nacional Centro de Arte Reina Sofía (ES); Kadist Foundation (SF); Inhotim (BR); Frac Lorraine (FR); Guandong Museum (CN) and Cisneros Fontan- als Art Foundation (USA). She was awarded the 2018 Faena Prize for the Arts, Faena Art, Buenos Aires, Argentina; the 2014 Edstrandska Foundation Prize, Malmö, Sweden; the 2012 Cisneros Fontanals Art Foundation Grants and Commissions Prize, Miami, USA; was the receiver of a three-year work grant from the Danish Arts Council and was nominated for the 2018 Prize The Future of Europe, Leipzig, Germany.

THE MOIST CABINET is inspired by the literary genre of climate fiction. Through the voice-over of the film, we encounter poems by Bettina von Arnim and William Shakespeare, each in the original language. Hanakam & Schuller view these poems from the 16th and 19th centuries a prequel to cli-fi. Both poets seem to be in dialogue with each other, yet testify to different attitudes: in Shakespeare, the description of nature serves as a catalyst of sexual desire; in Arnim, the physical encounter with nature triggers a need to preserve the source of erotic experience: “Your silence, nature, do not break.?/?Not on rustling leaf?/?With stylus wake thee.” THE MOIST CABINET thus also describes the influence of literary narratives on the relationships between nature and humans, and the consequential actions.

HANAKAM & SCHULLER is an artist duo living in Vienna. As artists and explorers, Markus Hanakam and Roswitha Schuller redesign the rules of fine arts and create unconventional arrangements and new world designs in videos and objects as well as applied artforms. Their works have been shown in Haus der Kulturen der Welt, Berlin; Eyebeam Art + Technology Center, New York; Palais de Tokyo, Paris; MAK, Vienna; MAK Center for Art and Architecture, Los Angeles; and the National Art Center in Tokyo. In 2022 they will work with Current Interests on a spatial installation for MAK Garage Top in Los Angeles.

Musarion adapts the eponymous work by German writer Christoph Martin Wieland and transfers the love story into the present day. Phanias withdrew from the city of Athens to the countryside to leave his old life behind. But one day he encounters his former girlfriend Musarion who tries to bring him back to reason. The art film follows their struggle to find an enlightened form of love that can overcome philosophical and political fanaticism. Musarion was directed by a collective of five young artists and mixes elements of the original text, opera, theatre, video art and narrative film.

Vincent Hannwacker was born in 1997 in Munich, Germany. Since 2016 he studies Media Art at Julian Rosefeldt's class at the Academy of Fine Arts Munich. Since 2017 he studies Screenwriting at the University of Television and Film Munich (HFF).

Part time Twitch streamer, part time drug courier; both low level. Slithering between life and death, online and offline. The carefree summer of global progress seems to be over - are these the final days of both, the illusion of overarching narrative, and of Jerome the Saint.

Matti Harju has screened work at the Rotterdam, Locarno, Oberhausen, Torino, BFI London, Edinburgh, AFI FEST Los Angeles and Clermont-Ferrand film festivals among others. He studied film directing at the National Film and Television School (NFTS) in the UK and holds an MFA from the Finnish Academy of Fine Arts.

Water as a physical and metaphysical metaphor and background of human existence. A docu-fictional essay between the Brazilian Sertão-deserts and the Northern-German flood areas of Dithmarschen. Dramas and day-by-day-observations in times of climate change.

Philipp Hartmann, born in 1972 in Karlsruhe, Germany, working as a filmmaker since 2000. Before studying film at Hamburg University of Fine Arts (graduated in 2007) he obtained a master’s degree in Latin American Sciences and a Ph.D. in Environmental Economics in Cologne and Brazil. His last feature length films were: virar mar / meer werden / becoming sea (2020), From the 84 Days (2021), El Argentino (2021), 66KINOS (2017) and Time goes by like a Roaring Lion (2013). He also makes short films like Skala (2019), About the Necessity to Travel the Seas (2010) or requiem for Mrs. H. (2007), as well as commissioned films, especially for museums and artists. Danilo Carvalho, born in 1972 in Fortaleza, Northeast Brazil. Filmmaker specialized in sound recording, sound design and soundtrack. Studied music at the State University of Ceará. Worked as a sound engineer and sound designer for directors such as Karim Aïnouz (Brazil), Hilton Lacerda (Brazil) or Margarita Hernandez (Cuba). Directed the films Supermemórias (2010), virar mar / meer werden (2020) and Torquato Imagem da Incompletude (2020). He founded the experimental jazz band Realejo Quartet and, at the end of the 1990s, he played in the bands Cidadão Instigado and Belchior. He teaches classes in sound recording or sound design at universities, schools and NGOs.

Le pipeline géant Keystone transporte chaque jour plus de 700 000 barils de résidus impurs depuis les exploitations à ciel ouvert de la forêt Boréale à travers les Grandes Plaines des Sioux, souillant les terres et les réserves d'eau. Dans une plongée au coeur des ténèbres, l'histoire contemporaine retrouve le temps prophétique des commencements :"lorsqu’il n’y avait ni lune ni étoile”, le lieu des spectres, du surgissement et de la disparition.

Cécile Hartmann is a french artist and filmmaker based in Paris. Born in Colmar, she studies Art at the National Fine Arts Academy of Paris (2000) and Art History in Human Sciences at the University of Strasbourg. Inspired by documentary aesthetics and Minimalism, her work questionnes the divisions between a constructed world and a natural world. Using different mediums and image regimes she fuses video, photography and performative gestures to create effects of instability and sublimity in her representations. Close to the terrestrial surface, in search for hidden layers and collective mythologies, her cinematic language plays on the indecisive nature of perception, between the visible and invisible, the organic and non-organic, past and futur. Main exhibitions included : Le Serpent Noir, MABA, Nogent-sur-Marne, Achrone, MOCA, Hiroshima, Et voici la lumière, Museo de Arte del Banco de la República, Bogotá, The family of the invisibles, SEMA Séoul Museum of Art, AGITATIONISM, Eva Internationale Bienniale, Limerick, De la Casa a la Fabrica, Palau la Virreina, Barcelone, French Edges, Museum of Fine Arts, Boston, Paysages de la conscience, MAMBO, Bogotà, Microclimat, CCC, Tours.

CHARACTER est un projet artistique multi-media à travers lequel Paul Heintz est allé à la rencontre d’homonymes anglais de Winston Smith, héros de 1984 de George Orwell. Existe-il entre eux et le héros de Orwell un lien indicible ? Pendant presque deux ans, le cinéaste Paul Heintz est parti à la recherche de Winston Smith, dans une enquête inscrite dans le cadre d’un projet multimédia. Lorsqu'il publie une petite annonce dans le quotidien anglais The Sun pour trouver des homonymes du héros du roman 1984, il va provoquer une collision de particules de fiction et de réel. Entre déconstruction et détournement, le réalisateur part à la rencontre des gens, dans un exercice de casting dystopique au milieu des paysages urbains déshumanisés. La texture de l’image d’archive nous transporte dans l’esprit de cet ouvrage culte paru en 1949 alors que les différents films-portraits qui surgissent révèlent surtout la dimension sociale du processus filmique. Dans le regard inquiet de son auteur, la dystopie imaginée par George Orwell finit par rejoindre les conflits sociaux et politiques du XXIe siècle. Si le quotidien individuel de ces illustres inconnus devient dystopique, phagocyté par notre imaginaire, leur rencontre finale questionne intelligemment le rôle de chacun·e dans une société individualiste bouleversée par la pandémie.

Né en 1989 à Saint-Avold, diplômé des Beaux-Arts de Nancy, des Arts Décoratifs de Paris et du Fresnoy, studio national des arts contemporains. Il vit et travaille entre Paris et la Lorraine. Son travail qui se traduit à travers l’objet, le son, le film et l’installation a été présenté lors d’événements d’art contemporain et festivals de films tels que FID Marseille, IFFR Rotterdam, Paris Nuit Blanche, Circulation(s). Il est le lauréat du prix Révélation Emerige 2019 et Révélation Livre d’Artiste 2021. Le terrain d’action de Paul Heintz est un étrange ensemble de cas où le réel est largement imprégné de fiction, et où la normativité sociale pèse en même temps de tout son poids. Il y a une toxicité propre à l’imagination et à la fiction lorsqu’elles allient leur agrément à la norme sociale, comme c’est le cas par exemple avec le storytelling. De là, Paul Heintz entre dans la logique de la fiction, la poursuit plus loin, et fait entrer par cette prolongation un courant d’air salvateur.

A woman arrives in a Polish village. As the director’s alter ego, she embarks on a search. An ancestor, we learn, originally came from this region of Silesia. The film follows her journey through the summertime landscape. She meets people of both German and Polish descent, who, after the war’s end, were forced to leave their homes, or who remained in what became a new country. She encounters shadows of the past: monuments, dioramas, the ruins of Nazi architecture. In a dinosaur park, paleontologists dig for the bones of a prehistoric creature, the one they call the grandfather of dinosaurs. Again and again, there is the presence of water—in the floods that swept fossils from one place to another and in fear-inflected metaphors: waves of Slavs or refugees. Where do the monsters of the past lurk? Fact and fiction interweave into a fantastic tapestry, as the process of genealogical research begins to go off course. Layer by layer, traces of migration routes are uncovered, and the roots of racial ideology are shaken loose from the ground— because almost nothing originally comes from the place where it’s found.

Juliane Henrich studied writing, art and film in Leipzig, Berlin, and Jerusalem with Thomas Arslan, Heinz Emigholz, and Avi Mograbi among others. In 2012, she graduated with honors from the University of the Arts Berlin. Her work often deals with the ways in which the definitions of places change. Her films and video installations have been shown at international film festivals and art exhibitions, including the Berlinale, the International Short Film Festival Oberhausen, Duisburg Documentary Film Week, DOK Leipzig, ZKM Karlsruhe, Visions du Réel in Nyon, the Images Festival in Toronto, and at various Goethe Institutes. The Goethe Institute Buenos Aires and DocBuenosAires featured her work in a mono­graphic show. In 2018, she was an artist in residence at Villa Aurora, Los Angeles. Her films are distributed by Arsenal – Institute for Film and Video Art, Berlin.

There he sits proudly on his motorbike, encompassed in majestic red and the dazzling admiration of the others. Round and round he goes, becoming more and more beautiful and exalted. For only he can explore the jungle. And no, he won’t hand over his motorbike, not even on loan. A playful re-enactment with reversed roles that takes aim at the hubris of the colonial conquerors.

The filmmaker and video artist was born in Mexico. He studied film at the Escuela Nacional de Artes Cinematográficas in Mexico City and at the Polish National Film School in ?ód?. He has made several short films and video works. He currently lives in Mexico where he is taking a doctorate in film theory while teaching film and making social documentaries. He is also developing his debut feature film.

Taking as its starting point the Neolithic figurines found throughout the Danube region from Croatia to the Black Sea through Serbia, Romania, North Macedonia,Bulgaria and Greece Women Minor Speculations is part road trip, part time travel and part speculative fiction using fragments of time, archaeological fragments, sound fragments and imaginary audio files trying to weave a potential whole from many distinct parts. During a period of four years I collected materials in film, images, sounds, and text dealing with remains as evidential material, with landscapes as witnesses, with interwoven biographies of archaeologists, their objects and subjects of research (the figurines, the constellations, cement, gossip and songs) in an exploration of how real and unreal objects of material culture produce gendered interpretations, collisions and hallucinations of public accounts, using technologies of memory, data storage devices to fracture the official historical narrative through minor histories, minor narratives and minor speculations. Shot over a fiveyear period on 35mm, 16mm, digital Bolex, Digital 8, mobile phones and still cameras the film involves a tentative encounter of two female explorers in south eastern Europe meeting through materials and separated by 6000 years.

Nicole Hewitt is a visual artist working in film, video, installation, performance, spoken word and text. Her work has recently been shown at The Museum of Contemporary Art Zagreb, Pogon Centre for Independent Culture, Zagreb; Sonic Acts Academy, Amsterdam, The Museum of Modern and Contemporary Art Rijeka; Invisible Savicenta – Savicenta; international festivals such as Days of Croatian Film, Hiroshima International Festival of Animation, International Documentary Film Festival Amsterdam, Festival of New Film Split, Rencontres Internationales Paris/Berlin/Madrid, International Film Festival Rotterdam, EMAF, New Media Festival Seoul, Mumbai International Film Festival, Montreal International Festival of New Cinema and New Media, etc. Retrospectives of her film, video and animation work were parts of Holland International Animation Film Festival Utrecht (2007) and ANIMATEKA (2006), Nicole Hewitt, Museums Quartier Vienna, 2004; Nicole Hewitt, Galerija Nova, Zagreb, 2004; UrbanFestival, Zagreb, 2011; Spaport Biennial 2009/2010, Banja Luka; Women With Vision, Walker Art Centre, Minneapolis, 2008, Insert, Retrospective of Croatian Video Art, MSU, Zagreb, 2006; Here Tomorrow, MSU Zagreb, 2002., etc.). Hewitt is cofounder of the artist run collective Studio Pangolin , is part of the sound collective Soundspiels and teaches at The Academy of Fine Arts, Zagreb. Hewitt lives and works in Zagreb and London.

An essay-film by artist Juul Hondius about the remarkable relationship between himself and the exceptional sculpture that stands in front of the NATO headquarters in Brussels. Since its inception, the sculpture has been shown countless times on worldwide media broadcasts. Hondius enters into a direct dialog with the sculpture against the backdrop of the chronology of the relocation of this sculpture. Do we want to keep you as a symbol? Can we still identify with the concepts you represent? In the film, the elderly architect Raymond Huyberechts is revealed as the author of this iconic symbol. How does Huyberechts feel about his creation from 1970? To Unveil a Star (2021) is a kaleidoscopic portrait of a sculpture in which the filmmaker transforms a solid, steel sculpture into an anthropomorphic character. Playing with the formalities of genres, to create a stream of consciousness about the context of this sculpture that moves from one character's mind to another, through objects and experiences that seem to repeat themselves throughout history. The narrative intends to make the audience question their own position towards a sculpture that represents a system we are all somehow connected with. To Unveil a Star shines a critical light on the alliance between a military-political ideology, a piece of modernist design, and the shifting geopolitical landscapes it has witnessed.

Juul Hondius (1970, Ens, The Netherlands) studied at the FAMU Photography, Film & Television School in Prague and the Royal Academy of Fine Art in Rotterdam, The Netherlands. His work can be found in the collections of the Fonds National d’Art Contemporain in Paris, Stedelijk Museum Amsterdam and Museum Boijmans Van Beuningen. Amongst other venues his work was exhibited in Maison Européenne de la Photographie, Paris (2006); Centraal Museum Utrecht (2021/2007); Stedelijk Museum Amsterdam (2002); Platform Garanti (Salt), Istanbul (2007); Stedelijk Museum Schiedam (2014); Museum Boijmans van Beuningen (2013/2004); The Chicago Art Institute (2006); Musée des Beaux-Arts, Nantes (2002); Kunsthalle Düsseldorf (2011); Juan Miro Foundation, Barcelona (2011); Kunsthalle Mannheim (2010); Museum de Fundatie, Heino (2010); Fotomuseum, The Hague (2010);; De Appel Arts Centre, Amsterdam (2004), Huis Marseille, Amsterdam (2003); and numerous festivals and biennials, including LOOP Barcelona (2015), Beijing Photo Biennial (2014), Lagos Photo International (2010), IDFA (2005), and Busan Biennale (2004). Recent screenings of ‘To Unveil A Star’ where held in the Eye Filmmuseum in Amsterdam (2021) and in cooperation with Centraal Museum in Utrecht during the NFF, the National Dutch Film Festival (2021).

‘The physical coastline becomes a metaphor for a ruptured piece of skin barely holding together a volatile state of being ready to explode.’ – Sohrab Hura The most recent film The Coast was filmed in the dark of the night during religious festivities in a sea side village in South India where millions of people throng to participate in religious festivities to celebrate Kali, the mytholoigical Goddess of death and destruction, for a week every year. These devotees transform into mythical creatures, celestial beings and even characters from every day life and enter a frenzied state of trance in that celebration after which they are carried to the sea in a state of exhaustion to wash off those masquerades. This film stretches the end of the book and the photographic installation also titled The Coast (Large Gallery I). The margin between land and water becomes a point of release beyond which characters experience fear, surprise, anger, sadness, trust, anticipation, excitement, contempt but also rapture. In this sequel to The Head & The Bird (Large Gallery I), Hura uses the metaphor of the washing away of the masquerade as a hope for the removal of the different masks that society wears to commit and justify their actions. Many of his later works have looked at the mask as a metaphor to make social and political comments. Here he looks at the masks worn by society where as in Snow (Bel étage) the mask is his own - the mask of denial. In this film we begin with seeing groups of people going into the sea almost as if to conquer the waves that crash upon them. At the same time frenzied rituals are at play on land. A drone like hypnotic sound oscillates between the ears of the audience. During the festivities Hura had met a musician playing the Urumi – a traditional percussion drum in Tamil Nadu – whose skin heads are made of buffalo skin. To be able to listen to the sound of skin, the artist had asked if he could record the musician rubbing the drum stick against the taut skin instead of beating it. The tense fight with the sea eventually gives way to a more gentle embracing of the sea. In the film the sea holds hope of a more optimistic future – one that is led not by male protagonists. The continuous crashing of the waves on land makes the edges and tipping points more blurry making visible that the overlaps of land and water and other intersectionalities are always in flux. The sea asks for a different kind of osmosis and transformation, the sea asks for embracing and not colliding.

Sohrab Hura (b.1981) is a photographer and filmmaker. His work lies at the intersection of Film, Photographs, Sound and Text. By constantly experimenting with form and using a journal like approach, many of his works attempt to question a constantly shifting world and his own place within it. Some of his recent solo and group exhibitions include Spill (Huis Marseille voor Fotografie, 2021)The Coast (Liverpool Biennial 2021), Videonale (Kunstmuseum Bonn 2021, 2019), Spill (Experimenter, India 2020), Companion Pieces: New Photography (The Museum of Modern Art, New York 2020), Homelands: Art from Bangladesh, India, and Pakistan (Kettle’s Yard, 2019), The Levee: A photographer in the American South (Cincinnati Art Museum, 2019). His films have been widely shown in international film festivals. The Coast (2020) premiered at Berlinale 2021 while Bittersweet (2019) was awarded the Principal Prize of the International Jury at the 66th International Short Film Festival Oberhausen 2020. The Lost Head & The Bird (2017) had previously won the NRW Award at the 64th International Short Film Festival Oberhausen 2018. Sohrab Hura has self-published five books under the imprint UGLY DOG. His book The Coast (2019) won The Aperture - Paris Photo PhotoBook of the Year Award 2019 and Look It’s Getting Sunny Outside!!! was shortlisted for the same award in 2018. The exhibition Growing Like A Tree (2021) opened in January 2021 at Ishara Art Foundation marking his inaugural curatorial project. The second iteration of this curated exhibition titled Static In The Air opened at Ishara Art Foundation, Dubai over six slow transformations in September 2021. In 2022 Hura will be the focus of a profile at Oberhausen International Short Film Festival for his films that lie at the intersection of the still and moving images. His work can be found in the permanent collections of MoMA (New York), Ishara Art Foundation, Cincinnati Art Museum and other private and public collections. Hura lives and works in New Delhi, India.

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.

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.

At a dystopian future moment in the coast of Oaxaca, due to global warming the oceans PH levels have acidified making them unsuitable for humans, therefor sea tourism has been gone for generations and only indigenous language is spoken. Wuicho repeats his father’s and grandfather’s ritual of keeping swimming pools pristine while he questions his actions and his predecessors. Written a dn filmed on his own, with a reflex camera and a smart phone in 10 days. His work tries to generate no residue in a ready made mode.

Carlos Irijalba born 1979 in Pamplona (Spain) currently lives in Amsterdam where he was a Rijksakademie resident 2013/14. His practice involves environmentally sensitive installations including sculture, video and photography. He has been awarded Mondriaan Fonds Bewezen Talent 2017-2020 and exhibited in itnernational venues loke the Shanghai Biennale, CAB Art Center Brussels, or MUMA en Melbourne in Australia. His work is present in international collections as Sammlung Wemhoener Foundation in Germany, MNCARS Reina Sofia Museum (Madrid) or the Taviloglu Art Collection in Istambul.

Through the showery urban and sleepy suburban landscapes of the American Pacific Northwest, Kersti Jan Werdal’s Lake Forest Park follows a group of adolescent friends in the wake of a mysterious shared loss. Specificities regarding the event are minimally disclosed in the beginning of the film, allowing seemingly mundane vignettes to dovetail while charged with the subtext of confusion and grief. Traversing the choppy waters on the Seattle ferry, in tender moments of care and conflict between young people, and among the troubled institutional spaces of home and school, Lake Forest Park meditates on the loss inherent in the transition of things. As long takes unfold through shifts in light or the subtle progression of off-screen sound, the film reflects T.S. Eliot’s  thought that the essence of change is gradual and often unremarkable - the greying of the sky before a shower - more of a whimper than a bang.

Kersti Jan Werdal is a filmmaker and photographer based in California. Her film work centers around collective memory, hidden truths within cultures that experience(d) erasure, and place. Demanding the audience take a direct role while viewing, she typically situates specific plot-points opaque, and prefers to pivot away from the expository. Werdal questions the Western way of seeking to understand different people and cultures through reduction or encouraging others to explain themselves, and considers this problematic. Her films focus on off-screen sound and framing of the subject to tell a story, while often working within a structuralist form. She is influenced by "cinéma vérité" style filmmaking and frequently shoots observationally. However, she subscribes to the notion that all filmmaking is inherently subjective, and therefore narrative. Her film-essays incorporate archival footage, still photography, text, and music. She frequently works in Washington State, where she was born and raised, incorporating landscapes and histories of the region. She holds a BA in Sociocultural Anthropology from Columbia University with honors, and an MFA in Film/Video from California Institute of the Arts.

We follow a man of advanced age walking along a misty mountain path in China. In one shot he carries a bag; in others he carries sacks of rice, or timber, or large buckets of water. He’s filmed in the morning, in the evening, and at night. The seasons change as we walk with him, through the bleakness of the winter, or on a fresh spring morning. The low-key atmosphere, the subdued gray-green hues of the surroundings, and the absence of dialogue and music all lend this film a refreshingly understated feel. A space is opened up in which the viewer can listen to the sound of the wind, the man’s footsteps, the birds. There is time to wonder who the man is that we are following, where he is going, and what his life is like. Only at the end of his journey do we find out a little more about him.

Born in 1989, Luoyang, Henan Province, Jin Jiang started to earn his living after dropping out of high school. In his spare time, he devoted himself to contemporary arts. In 2013, his first personal exhibition "In the Field of Hope" was held in his hometown. One year later, he came to Beijing and ventured into cinematography and film industry.

Inspired by the diary of a migrant worker, the documentary weaves several social and artistic threads together: the life a Thai migrant sex worker named Ploy who works in Singapore’s “jungle brothel”; the narratives of other migrant workers; an exploration of Singaporean forests and public parks; and the process through which the artist-filmmaker delves into and revisits Ploy’s experience. Ploy is a character as well as a collage of several visual forms, including painting, photography, photo-roman (photo-novel), 35mm slide projection, letters, and a herbarium. The film reconstructs the journey of Ploy through an array of visual media.

Prapat Jiwarangsan (b. 11 July 1979, Bangkok) is a visual artist and film director from Thailand. In his creative explorations, he usually incorporates a variety of media, especially photography, slides, and videos to investigate and represent the relationships between history, memory, and politics in Thailand—particularly in relation to the theme of migration. Having graduated from the Royal College of Art (RCA), Jiwarangsan has spent the last 6 years researching and making artwork that tackles the issues faced by migrant workers in Southeast Asia.

Inspirée par le poème féministe italien d’Amelia Rosselli, La Libellula (Panegirico della libertà) (1958), Cercate Ortensia est un film d’archives scientifiques, personnelles et de réseaux sociaux. Entre hommage et vengeance face à son héritage littéraire, le poème de Rosselli se nourrit de l’ambivalence de la figure d’Hortense du poème « H » d’Arthur Rimbaud, entre élan d'ouverture et retrait intime. Cercate Ortensia recrée un mouvement circulaire marquant une bouffée d’air libératrice face au passé et la vieillesse. Le film explore la chute, la disparition, l’oubli, l’évanescence, traçant un lien entre les recherches de pionniers scientifiques, la désorientation liée à la perte de mémoire d'un père vieillissant et malade, jusqu’à l’actualité brûlante de la catastrophe écologique. 

Pauline Julier est artiste et réalisatrice. Elle explore les liens que l'homme crée avec son environnement à travers des histoires, des rituels, des connaissances et des images. Ses films et installations sont composés d'éléments d'origines diverses (documentaire, théorique, fictionnel) pour restituer la complexité de notre rapport au monde. Ses installations et films ont été projetés dans des centres d'art contemporain, des institutions et des festivals du monde entier, notamment au Centre Pompidou (Paris), au Loop (Barcelone), à Visions du Réel (Nyon), au Tokyo Wonder Site (Tokyo), au Musée d'art moderne de Tanzanie, au Geneva Art Center, au Palazzo Grassi (Venise), à New York, Madrid, Berlin, Zagreb, à la Cinémathèque de Toronto et au Pera Museum d'Istanbul. Julier a présenté une exposition personnelle au Centre Culturel Suisse à Paris (CCS) en 2017 et vient de recevoir le Prix fédéral d'art suisse en 2021. Son film « Naturales Historiae » vient d'être diffusé en ligne sur Vdrome.org et son prochain film, « Way Beyond », sélectionné en compétition à Visions du Réel 2021 sera dans les salles suisse à l’automne. Elle présente ce printemps une grande installation à l’institut d’Art Contemporain de Villeurbanne.

Skull Island is an ongoing series of lectures, films and installations that examine a hypothetical image environment as an introspective space that reflects the sociopolitical contexts of its audience. Using the fictional island from King Kong as an analogy, cultural and technological developments define a relative position from which the viewer can view and question their surroundings. Part III is structured around two artefacts found in the visual effects archive of Berlin’s Deutsche Kinemathek Museum of Film and Television. A cast of the skull of the original armature for the stop-motion model of King Kong (Merian C. Cooper and Ernest B. Schoedsack, 1933) and a silicone mask constructed for Kevin Bacon’s computer-generated invisible character in Hollow Man (Paul Verhoeven, 2000) create a framework in which to discuss the surfaces and armatures or the skin and bones of moving images. The film examines the inherent hidden material and socio-political properties of moving images, the perpetuation of insidious ideological constructs in cinematic remakes or reboots, and traumas encapsulated in the sites and systems of moving image production.

Graham Kelly is a visual artist and filmmaker. His practice is situated in the interfaces between contemporary forms of images, physical bodies, and environments. By considering these interactions as engulfing and continuous states or effects, his work seeks to expose and dissect power structures that are cast, distorted or enforced within them. His works have been screened and exhibited in a number of international contexts that include: Haus der Kulturen der Welt, Kino der Kunst, EYE Filmmuseum, TENT, Transmission, NEST, Recontres Internationales, and LUX. He was a resident at the Jan van Eyck Academy in 2015/16 and at AIR Berlin Alexanderplatz in 2018.