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Leandro Listorti
La película infinita
Leandro listorti
La película infinita
Doc. expérimental | 35mm | couleur et n&b | 55:0 | Argentine | 2018

La película infinita, the new film by Argentine filmmaker and curator of the film museum in Buenos Aires, Leandro Listorti, is an essay film about a parallel history of cinema, based on remains of Argentine films that were never completed. Edited by renowned filmmaker Felipe Guerrero (whose Oscuro animal premiered in IFFR`s Tiger Competition two years ago), it is a film created from fragments of other people`s films that somehow never really existed. As such, it is a cinematic Frankenstein, coming to life in front of our very own eyes. In a country where the remains are of fundamental importance in understanding the past, La película infinita offers a window to forgotten memories, and invites the viewer to evaluate its own culture and identity. The stories and the images, once considered unsuccessful, have now taken on a new meaning. Inert images and sounds never heard are finally opened up for fresh discovery.

Leandro Listorti was born in 1976 in Buenos Aires, Argentina. After graduating from Filmmaking School he attended workshops with filmmakers such as Patricio Guzman, Martín Rejtman, Pablo Reyero and Harun Farocki and shot a series of short films in Super 8 dealing with the ideas of travel and memory. In 2010 he finished his first film DEATH YOUTH, which screened in numerous festivals. He writes about film, teaches and since 2005 he is Film Programmer at Bafici Film Festival. He also worked as Assistant Director in several films. In 2012 he participated in Archivo Expandido (Expanded Archive) an expanded cinema experience screened in festivals such as Kunstenfestivaldesarts (Brussels) and S8 Mostra de Cine Periférico (Spain). He is one of the founders of A.R.C.A. (Regional Archive for Amateur Cinema), and one of the twenty five directors of INTERVENED EVENTS, produced by the Film Museum of Buenos Aires, Pablo Ducrós Hicken.

Trentasette film per una casa
Arianna lodeserto
Trentasette film per una casa
Doc. expérimental | mov | couleur et n&b | 11:0 | Italie | 2017

Le fil rouge de l`urgence du logement nous a permis de découvrir l’intacte et flamboyante poésie d’un « cinéma mineur » (hétérogène et souvent immergée dans les archives) qui nous restitue la contre-histoire de l`architecture sociale romaine et de ses paradoxes. Un « cinéma tout de suite », tant expérimental qu’ « à l’écoute», composé de pellicules insurgées, joyeuses et conspiratrices, capables de secouer les formes consensuelles et standardisées de l’industrie du cinéma. Rushes silencieuses, reportages inachevés, petits plans de films souvent sans auteur (trouvés dans les fonds Aamod et Unitelefilm), ou d’auteurs refoulées rapidement de l`histoire du cinéma italien. Mais qui ont consacré au moins un regard à l’attente d’une maison.

Je suis photographe de formation et chercheuse précaire en théorie de l’image et archéologie des médias. Passionnée de montage et d’écriture, je m’intéresse aux documentaires de création et au cinéma expérimental, aux archives des mouvements, au tiers paysage et à l’architecture cosmique. Née au sud-est d’Italie, mais à l’esprit nomade, je tiens un carnet de voyage intitulé lisible en ligne. Mon court-métrage “Les maisons qu’on était? a été primé aux Building Bridges Emerging Filmmaker Awards (Minnesota-Etats Unis), IsReal, Festival di cinema del reale (Sardegna-ITALIE), Linz International Short Film Festival (Autriche) et au Family Film Project (Portugal), et sélectionné dans des festivals internationaux en Ecosse, Serbie, Croatie, Hongrie et en Espagne.

Ivan markovic
Doc. expérimental | 4k | couleur | 48:26 | Serbia | 2018

A vast complex of corridors, atriums and halls: a congress center made to host thousands now stands almost abandoned. The architecture reflects a former idea of the future, while surfaces and materials testify to its end. Through their relentless effort, the maintenance workers shoulder the duty of restoring the space to what it was imagined to be. Their movements are unison, ritual but also their own. Sava Centar is a congress space completed in 1978. in Belgrade, Yugoslavia. It hosted hundreds of international meetings, including World Bank summits and a conference of the Non Aligned Movement. After the breakup of Yugoslavia, its capacities gradually became obsolete. It is now awaiting a privatisation and commercial reconstruction.

Ivan Markovi is a cinematographer and director born in Belgrade, Yugoslavia. He graduated from the Faculty of Drama arts in Belgrade, cinematography studies, in 2012. For his film and photography work, won “Erste Bank foundation” Award for best visual artist in 2014. Recently worked as a cinematographer on several feature films including “All the cities of the north” (director: Dane Komljen, premiered on Locarno Film festival 2016), “You have the night” (director: Ivan Salati, premiered on Venice Critics week 2018) and “Ich war zuhause, aber..” by director Angela Schanelec, which premiered in Berlinale Competition 2019. The short film “White Bird”, which he worked on as a cinematographer and co-director with Linfeng Wu, had its premiere on Berlinale Shorts 2016. In 2018 his experimental documentary film “Centar” had its premiere on Doclisboa Film festival. Lives and works between Belgrade and Berlin.

Pirate Boys
Pol merchan
Pirate Boys
Doc. expérimental | super8 | couleur et n&b | 13:10 | Espagne | Allemagne | 2018

Kathy Acker`s writing, and a seminal portrait of her taken by intersex photographer Del LaGrace Volcano, provide a lens through which to explore trans subjectivity and the queering of cinema. Pol Merchan`s hybrid doc fluidly moves from the documentation of the punk era to a more performative exploration of gender.

Pol Merchan was born in Lleida, Spain, in 1980. In 2007, he obtained a degree in Fine Arts from the University of Barcelona and in 2014 an MA in Art in Context from the Berlin University of Arts. In 2017 he won the Xposed Queer Short Film Fund and the Research Fellowship from the Senate Department for Culture and Europe in Berlin, and in 2019 the Arbeitsstipendium from the Stiftung Kunstfonds. His experimental audio-visual work explore visual semantics and filmic practices, deconstructing technics of conventional filmmaking. Merchan uses the camera as an extension of his eye and body, making intimate works that emphasize the tactility of the film. His work has been seen internationally in art institutions including Museo Reina Sofia - Madrid, Anthology Film Archives - New York, Contemporary Culture Centre of Barcelona, The Institute of Contemporary Arts London, The Art Centre of La Panera - Lleida, Contemporary Art Centre - Vilnius, Beursschouwburg - Brussels, as well as at numerous Internationally Film Festivals such Hot Docs Canadian Documentary Festival, Ann Arbor Film Festival, Clermont-Ferrand Short Film Festival, Int. Kurz Fillmtage Oberhausen, Festival de Cine Guanajuato, Sao Paulo Short Film Festival, Stuttgarter Filmwinter - Festival for Expanded Media or Barcelona Independent Film Festival l'Alternativa.

Elinor NECHEMYA, Elinor Nechemya
Ima Lanetzah
Elinor nechemya , Elinor Nechemya
Ima Lanetzah
Doc. expérimental | 16mm | couleur | 13:52 | Israel | 2017

In a series of tableaus, a regal figure gazes over her lavish estate. Amidst the elaborate flora of her garden or the pristine china in her dining room, she appears as an elegant mirage and a symbol of timeless, enduring femininity.

Elinor Nechemya was born in Jerusalem, and studied film at Tel-Aviv`s Minshar School of Art. Her latest short `Everlasting MOM`, premiered at TIFF and screened at major Film Festivals such as Locarno and Palm Springs. Her diploma film `Off Season` was screened in International Film Festivals, among them Slamdance. Elinor is working on her debut feature film, which participated at the Berlinale Script Station. These days she completed the work of a new short - `Follow Me`, which will premiere in 2019. She was part of the 2018 Locarno Filmmakers Academy.

Giorgio ORBI
Giorgio orbi
Documentaire | 4k | couleur | 26:26 | Italie | 2018

“Mountains look so beautiful that once you start looking at them you can’t stop. A glance lasts only a moment but it takes part of a whole metamorphosis” INTHEMOUNTAINS ponders over the role of the artist and the evolutionary dialogue with the mountain and its landscape; an essential role that welcomes the transformations of the contemporary mountain through the collective memory of underground dance music. Monte Pelmo is the starting point of the artist's journey of research. It was climbed by the first President of the London Alpine Club John Ball and witnessed the birth of alpinism in the Dolomites. The structure of the documentary has been progressively built through the vocal contributions of an on-air radio program over one year of broadcast on Radio Cortina, where Orbi invited guests in conversations about the landscape. Among many and different radio contributors, an artist Luigi Ontani, an astrologer Marco Pesatori, an editor Valerio Mannucci, an alpinist Pietro dal Prà and an architect Antonio de Rossi were selected by Orbi to feature as main characters in the documentary. The title of the project comes from “What the Thunder Said” the fifth section of The Waste Land by T. S. Eliot.

Giorgio Orbi (1977) is an Italian artist born in Rome. Before beginning to regularly exhibit his work in art spaces, he took part in the Italian underground music and art creative scene of the nineties. He is a writer, musician, filmmaker, photographer, visual artist and alpinist. In his work, Orbi has often related, through different media, with the concept of the mountain as both a natural and cultural “presence”.

Vivian ostrovsky
Doc. expérimental | hdv | noir et blanc | 6:20 | France | USA | 2018

Introspective et solitaire, Claire Lispector (1920-1977), écrivaine Ukrainienne et Brésilienne, est le personnage de ce film construit à partir d`une interview que la télévision n`a diffusée qu`aprés sa mort. Ce qu`elle disait en 1977 reste totalement pertinent et parle fort à tous ceux qui, comme moi, se sentent de plusieurs mondes.

Cinéaste née à New York en 1945, Vivian Ostrovsky passe son enfance à Rio de Janeiro puis poursuit des études supérieures à Paris en psychologie ainsi qu’en cinéma. Elle co-fonde dans les années 1970 Ciné-Femmes, organisme dédié à la diffusion de films de femmes. Depuis 1980, Vivian Ostrovsky a réalisé plus de vingt films, la plupart tournés en Super 8, qui incluent souvent du found footage, des extraits de fictions, de documentaires, ou de home movies. Ses films exploitent le thême du déplacement et se situent, d’aprés Yann Beauvais, entre le "film journal" et le "film collage". Elle travaille également à la programmation du cinéma d’auteur et d’avant-garde du festival de film de Jérusalem. Son travail a connu de nombreuses rétrospectives et expositions dans les musées et les festivals à travers le monde ; à la fois pour ses films et ses « films-installations ».

90 Seconds in North Korea
Ranko paukovic
90 Seconds in North Korea
Doc. expérimental | hdv | couleur | 14:57 | Croatie | 0

How do you shoot a documentary when you know that filming is not allowed? In 90 Seconds in North Korea, Ranko Paukovic filmed in slow motion, shooting secretly in 2-second intervals on a hi-speed camera that everyone else around him believed was an ordinary tourist stills camera. Each 2-second fragment created 20 seconds of slow motion footage. The result is a dreamlike yet breathtakingly normal montage of everyday street, road and beach life in a state that strictly controls what outsiders are allowed to see. A child plays with a toy car in the park, adults enjoy a game of cards in the park's picnic area; trucks drive along an empty road, the rays of the setting sun lend warmth to lush countryside, and a shower of rain falls on the streets of Pyongyang… As it was impossible to record any interviews or ambient sound, the soundtrack features a haunting and evocative sound design composed by the director, an accomplished sound editor. The pragmatic, necessary decision to shoot in slow motion lends the film a poetic quality: in Ranko's own words, "the form is born out of need".

Ranko Paukovic studied film at the Academy of Dramatic Art in his hometown of Zagreb, Croatia. After graduating, he worked as an assistant editor on large international co-productions. He moved to The Netherlands in 1991 and worked as a sound editor with prominent Dutch directors. In 1993 he set up his own sound studio, Editson, specialising in sound design, sound editing and film mixing for artistically ambitious projects. Still based in Amsterdam, Ranko is now in demand internationally. He has built up an impressive back catalogue of work including feature films, high-end television drama and documentaries. A few years ago, he made his debut as a director with the feature-length documentary Bijela Kuca (White House), about the unique white stone found on the island of Brac, Croatia and the people who earn a living from quarrying it. White House was shown at several international film festivals and broadcast by Croatian national television (HRT) and Al-Jazeera Balkans. His last documentary "The End of Darkness" about the last European female mine workers just premiered at Al-Jazeera Balkans Docs in Sarajevo. The film was supported by the Croatian Film Fund (HAVC). Ranko is also a visiting professor for the University of Zagreb, where he teaches sound design.

Le ciel des bêtes
Thomas paulot
Le ciel des bêtes
Doc. expérimental | hdv | couleur | 35:49 | France | Suisse | 2018

Le chasseur ardennais part à la recherche d’images nocturnes grâce à ses pièges photographiques. L’astrophysicien au milieu du désert, utilise ses télescopes géants pour sonder les fins fonds du cosmos. Tous deux, à travers leurs territoires et leurs images partent à la quête de nouveaux mythes.

Thomas Paulot est né à Paris en 1991. Il obtient un Bachelor en fine art à Central Saint Martins de Londres lors duquel il développe une pratique interdisciplinaire principalement autour d’installations, de vidéos et de constructions scénographiques. Il dirige en 2016 un atelier avec des mineurs pluri-exclus à Paris durant lequel il réalise un film Au début du chemin de notre vie. Il coréalise le film Stardom lors de l’atelier Grand voyage à Bombay en Octobre 2016. il coréalise en 2017, Anarchie à Buchillon dans le cadre d’un atelier avec la Manufacture de Lausanne. Il sera diplômé du Master cinéma ECAL/HEAD en 2018 avec son film, Le ciel des bêtes.

Europe in Autumn - Polish Family
Pascal piron , Karolina MARKIEWICZ
Europe in Autumn - Polish Family
Doc. expérimental | hdv | couleur | 8:41 | Luxembourg | 2018

Europa im Herbst - Polska Rodzinka (Europe in Autumn - Polish family) is a short portrait of a tormented Poland, a tormented and conflicted Europe in 2018. Not only populists raise their brutal voices but also right extremists reappear in a very quick rhythm like in the 30s. This experimental short documentary is the result of a journey through Poland where several families co-exist and argue: our own family, the one of the anti-fascist and pro-European protesters, the one of the police, the one of the musicians... The last ones reinterpret old pre-Second World War songs, written by polish Jews, in which people dance and die. Europa im Herbst - Polska Rodzinka is a short merry-go-round ride of our stay in Poland and in Europe in the summer of 2018.

Karolina Markiewicz and Pascal Piron's collaborative work creates links between film, visual arts and theatre. At the center is the individual person as part of a human community, oscillating between resignation and hope. Karolina studied political science, philosophy and theatre and works as a film and theatre director. Pascal studied visual arts and works as an artist and film director. Both work also as teachers. They are currently working on several cinematographic projects. Sublimation "an interactive installation based dance VR piece developed in collaboration with Yuko Kominami" butoh dancer, this project is selected among 12 international projects by the Mostra di Venezia for the the festival and the College Biennale Cinema VR. The duo works also on My Identity is this expanse! an installative VR piece on exile and resilience through poetry and The Living Witnesses, a documentary about anti-Semitism. Their former short films and films: Les Formidables, 2013 Mos Stellarium, 2015 - selected for the 56. Biennale di Venezia di Arte to represent Liechtenstein Side Effects of Reality (2016 - ongoing) - a series of short films on history and contemporary myths: De Rerum Natura, Artis, Kostas, Okopowa-Warszawa, La Figurine, Eos+Aeneas, To not be destroy by powder to the powder and the fist, Here Be Dragons, Europa im Herbst - Polska rodzinka.

Stefan RAMIREZ PEREZ, Ramírez Pérez, Benjamin
Stefan ramirez perez , Ramírez Pérez, Benjamin
Doc. expérimental | dcp | couleur | 20:45 | Allemagne | 2018

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.

Dom boraca
Ivan ramljak
Dom boraca
Documentaire | mov | couleur | 50:0 | Croatie | 2018

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.

Oliver RESSLER, Zanny Begg
Oliver ressler , Zanny Begg
Documentaire | hdv | couleur | 18:0 | Autriche | 2017

The film focuses on Nauru, a tiny remote island in the Pacific with 10,000 inhabitants. The narration discusses different voids that have shaped the islands past and future. The largest void is a physical one, the island is a raised reef consisting of calcite and phosphate on a volcanic base, which since 1906 has been mined and exported to Australia, to fertilise the former colonisers’ farms. When phosphate extraction came to a stop in the 1980s, Nauru was bankrupt and 80 percent of the land area uninhabitable and infertile. In an attempt to generate income, in the 1990s Nauru became a prime money-laundering haven. After the disappearance of soil and money, today Nauru involves in the “disappearance of people” - housing one of Australia’s offshore refugee detention centres. In a reaction to the criticism on terrible human right situation in the detention centre, Nauru severely restricted access to the island. Four whistleblowers, who worked as doctors and nurses in the detention centre, describe the institutionalised human rights violations in the offshore detention. Today a new void threatens the island, rising sea-levels threaten the coastal edge, which is the only area left for its inhabitants to live.

Zanny Begg is a Sydney based artist whose work focuses on political activism and community. Her work is often collaborative inviting engagement with key themes such as resilience, financial disobedience and unthinking borders. Zanny has an experimental and research driven practice that works across film, performance, installation, activism and drawing. Zanny’s exhibitions include The Museum of Contemporary Art, Sydney, 2017; Sharjah Biennale, 2011; Istanbul Biennale, 2009. Oliver Ressler produces installations, projects in public space, and films on issues such as economics, democracy, global warming, forms of resistance and social alternatives. Solo exhibitions: Berkeley Art Museum, USA; Alexandria Contemporary Arts Forum, Egypt; Wyspa Institute of Art, Gdansk; Lentos Kunstmuseum, Linz; MNAC - National Museum of Contemporary Art, Bucharest; SALT Galata, Istanbul. Ressler is the first price winner of the Prix Thun for Art and Ethics Award in 2016.

Esta puerta, esta ventana
Alex reynolds
Esta puerta, esta ventana
Doc. expérimental | hdv | couleur | 36:11 | Espagne | Belgique | 2017

In "This Door, This Window", choreographer Alma Söderberg and musician Nilo Gallego create a blind duet, investigating the boundaries of the individual in a relation. Where do "I" end and does "we" begin? How can we live together with our personal rhythms? How do we influence, steer or manipulate each other? How do we find or lose each other? The film sits somewhere between portaiture and sonic performance, the result of fantasizing with a calculated "and perverse" use of sound and rhythm in order to consciously invade, connect, and alter the body. It reflects on the theme of cohabitation through sound, thinking of living together as a matter of listening and of negotiating rhythms, earworms and boundaries when there are no doors or windows to keep out sound, or inversely, anything may serve as door or window.

ALEX REYNOLDS is an artist and filmmaker living in Brussels and Berlin. Honing into the intersection of portraiture and fiction, her films explore the expansive and invasive potential of point of view, empathy, and rhythm, often walking the line between tenderness and violence to insistently ask: how to live together? Recent exhibitions and projects include Querer parecer noche, Ca2m, Madrid, Every Object is a Thing but not every thing is an object, Hollybush Gardens, London; This Door, this Window, Estrany de la Mota, Barcelona; La timidite? des cimes, FRAC Lorraine, Metz; Playground Festival, Leuven; She is a Film, galería Marta Cervera, Madrid; Moving Image Contours: Points for a Surrounding Movement, Tabakalera, San Sebastián; We Can't Go Home Again, CAC, Vilnius; Elisabet, Lena, Tobias', National Music and Theatre Library of Sweden, Stockholm; A Trip to the Moon, Before and After Film, Bonniers Konsthall, Stockholm... Her films have been screened at festivals and programmes including FIDMarseille, Les Rencontres Internationales, Aesthetica Film Festival, Kunstfilmtage Düsseldorf, or Cinematek, Brussels.

Louis-cyprien RIALS
Louis-cyprien rials
Doc. expérimental | 4k | couleur | 5:30 | France | Lituanie | 2017

Au Liban, pr�s du village de Mleeta situ� dans les montagne du sud-Liban, Tourist Landmark of the Resistance est un champ de bataille devenu mus�e du Hezbollah Libanais. Ouvert en 2010 au public, c?est un vaste complexe de bunkers et de collines, transform� en une subtile et �tudi�e mise en sc�ne de la d�faite d?Isra�l au Liban, en mus�e et en centre de propagande avec des obus, des carcasses rouill�es de chars et de camions militaires. Des messages dans des mises en sc�ne th��tralisantes.Laur�at du Prix SAM pour l`art contemporain 2017, Louis-Cyprien Rials b�n�ficie d`une exposition au Palais de Tokyo - 20 f�vrier au 12 mai 2019 -, commissariat d?Ad�la�de Blanc. Il pr�sentera le r�sultat de son travail lors de ses voyages en Ouganda, gr�ce � SAM Art Projects : Au bord de la route de Wakaliga.

N� en 1981 � Paris, Louis-Cyprien Rials d�couvre la photographie au Japon, o� il s?installe plusieurs ann�es. Il vit ensuite � Paris, Bruxelles et Berlin, tout en r�alisant de longs d�placements dans des zones de conflits et des lieux interdits au public. � partir du d�but des ann�es 2000, il emploie la photographie et la vid�o pour tenter de saisir et de raconter la violence sous-jacente � ces territoires. Louis-Cyprien Rials a pr�sent� son travail dans plusieurs expositions collectives ainsi que dans le cadre d?expositions personnelles, notamment � Hestia (Belgrade, 2018), � la galerie Dohyang Lee (Paris, 2016) et � IDK Contemporary (Bruxelles, 2014). Au printemps 2019, il r�alisera deux expositions : � Par la fen�tre bris�e � � la galerie Eric Mouchet (Paris) et � Au pied du gouffre � � la galerie Dohyang Lee (Paris). Avec � Au bord de la route de Wakaliga � au Palais de Tokyo, ces expositions pr�sent�es simultan�ment � Paris formeront une trilogie.

Trees Down Here
Ben rivers
Trees Down Here
Doc. expérimental | 16mm | couleur | 13:56 | Royaume-Uni | 2018

Trees are the silent characters, narrating the architecture and life of Churchill College (opened in 1960) through its natural history. 6’s Cowan Court (completed in 2016) inverted the spatial and material order of the picturesque Brutalism of the original college, shifting its mineral world of brick and shuttered concrete to timber. Cowan Court’s oak, both new and old, defines its structure and in turn encloses a central court filled with recently planted birch trees. The analogue materiality of Churchill College is matched by the film which, like the architecture and landscape, leaves traces of its own development. The human habitat is seen through nature ‘ swaying trees, lost animals, birds of prey, the seasons “ to create a new dreamlike environment in which any distinction between human life, architecture and nature is erased.

Ben Rivers studied Fine Art at Falmouth School of Art, initially in sculpture before moving into photography and super8 film. After his degree he taught himself 16mm filmmaking and hand-processing. His practice as a filmmaker treads a line between documentary and fiction. Often following and filming people who have in some way separated themselves from society, the raw film footage provides Rivers with a starting point for creating oblique narratives imagining alternative existences in marginal worlds. He is the recipient of numerous prizes including: FIPRESCI International Critics Prize, 68th Venice Film Festival for his first feature film Two Years At Sea; the Baloise Art Prize, Art Basel 42, 2011; shortlisted for the Jarman Award 2010/2012; Paul Hamlyn Foundation Award for Artists, 2010. Recent exhibitions include: Slow Action, Hepworth Wakefield, 2012; Sack Barrow, Hayward Gallery, London, 2011; Slow Action, Mattâ’s Gallery, London and Gallery TPW, Toronto, 2011; A World Rattled of Habit, A Foundation, Liverpool, 2009. Artist-in-focus include Courtisane Festival; Pesaro International Film Festival; London Film Festival; Tirana Film Festival; Punto de Vista, Pamplona; Indielisboa and Milan Film Festival. In 1996 he co-founded Brighton Cinematheque which he then co-programmed through to its demise in 2006 “ renowned for screening a unique programme of film from its earliest days through to the latest artistâ’s film and video.

Daniel ROBIN
All The Leaves Are Brown
Daniel robin
All The Leaves Are Brown
Doc. expérimental | super8 | couleur | 11:0 | USA | 2017

What do we become when we realize that we are no longer what we used to be? Are we still ourselves, even though we no longer remember what we used to be? Through a collage of excerpts from conversations, thoughts, pictures of places and intimate family moments, "All the Leaves are Brown" is an autobiographical reflection, in film, of the American director Daniel Robin. The nostalgia for the past and for his life in California (as in the music by "The Mamas & The Papas" suggested by the title) is imprinted in the beautiful landscapes shot in Super8, which are in contrast with the narrator`s feeling of anguish, regarding the present and the future, a time that is characterised by what no longer exists or what has ceased to be. In a touching and intimate portrait about memory, family and loss, the fallen leaves of "All the Leaves are Brown" represent the end of a season and the beginning of another cycle: Daniel knows that, next year, the tree he sees from his window will once again be filled with leaves. He will have to learn to be another one. (LQ)

Daniel Robin’s film, “my olympic summer,” won the 2008 Sundance Film Festival Jury Prize for Short Filmmaking. The film also won the Grand Jury Award for Best Documentary Short at the Florida Film Festival, Best Documentary Short at the Nashville Film Festival, and best documentary short at several other festivals. The film was also selected to screen at the prestigious New Directors/New Films Festival in New York. His other films have twice screened at Sundance, at the SXSW Film Festival and festivals in Bogota, Cartagena, Abu Dhabi, Ireland, Israel, Italy, Spain, Philadelphia, London, Atlanta, Baltimore, Humboldt, Ann Arbor, and elsewhere. Filmmaker magazine recently named Robin one of the “25 New Faces of Independent Film,” a major honor. Robin is an innovative online artist, having pioneered web video in 2001, and with 6 episodic web series to date available at his website Robin recently wrote an essay about his experiences with web video for Movement, the NYU Tisch School journal. Daniel has been invited to present web video work at the Amsterdam Worldwide Video Festival and elsewhere. His projects have received support from the San Francisco Arts Commission, Apple Computers, the Fleishbacker Foundation, and the Film Arts Foundation. As Robin puts it: “My film/video work is primarily made for two distinct exhibition venues: film festivals and the Internet (web series). My short films are personal and, for the most part, interrogate relationships I have with women, my family, and Judaism. While the majority of my filmmaking can be read within a documentary framework, I’m more inclined not to use labels to categorize my work. I have a deep love and appreciation for narrative cinema and have incorporated some fictional devices in my more recent films. I use narrative strategies both as a means to critique how we consume documentaries and, in some sense, as a way to liberate my work from the constraints of conventional non-fiction storytelling. The most important aspect of filmmaking, for me, is to arrive at an emotional truth that resonates with the viewer.I began making web series at my site in 2000. My first series, the valet chronicles, set the thematic standard for each new series, my relationship with a specific neighborhood, and or community. My work here maintains an aesthetic and tonal consistency that aligns itself with familiar tropes of documentary practice, yet I consider these web series an extension of my personal filmmaking.”

L'Albero Rosso
Paul rowley
L'Albero Rosso
Doc. expérimental | mov | couleur | 21:0 | Irlande | USA | 2018

THE RED TREE / L`ALBERO ROSSO is short documentary that tells the little known history of Italian gay men being arrested and exiled to a remote island during Mussolini`s Fascist regime. In the film, an elderly man returns to the island of San Domino where 60 years before during the Fascist era he was imprisoned with hundreds of other men for being homosexual. As he walks the island alone, memories come back - of all-male dances in his home town in Sicily in the 1930s, of his beating and arrest, the difficulty of prison life on the island, the suffering of gay men under fascism, and their public humiliation after their return. And of this unique island where all the prisoners were gay, and the seeds of a community were first sown.

A visual artist and filmmaker, Paul began making films in 1995. Since then he has completed over forty shorts, documentaries, video installations, and experimental films, which have shown internationally from the Berlin Film Festival to San Francisco International to the Centre Pompidou.

Une fille de Ouessant
Eléonore saintagnan
Une fille de Ouessant
Documentaire | 0 | couleur et n&b | 27:58 | France | 2018

L`île d`Ouessant est la plus à l`ouest, tout au bout de la pointe de la Bretagne. La dernière terre française avant l`Ame?rique... Autrefois, les hommes y travaillaient tous en mer, pour la pêche ou dans la marine, et de ce fait l`île e?tait peuple?e presque uniquement de femmes. En immersion sur cette terre, Eléonore Saintagnan plonge dans les archives, et dans un flottement entre rêve et re?alite?, s`identifie à Barba, une fille de Ouessant, dont le père a disparu en mer sans laisser de traces. Comment alors faire son deuil? Entre film de vacances, documentaire anthropologique et fiction, Une Fille de Ouessant prend la forme d`un conte ethnographique.

Rajee samarasinghe
Doc. expérimental | mov | couleur | 7:49 | Sri Lanka | 2018

Shot improvisationally in 2010, shortly after the end of the Sri Lankan civil war, this film takes a lyrical approach to examining recent history and the process of reconstruction in the post-war era. The visions of an exile are carried through an immoral silence, to an end both dubious and bittersweet.

Rajee Samarasinghe is an award-winning Sri Lankan filmmaker and visual artist. Some of his recent work examines contemporary ethnographic practices through associations of family and heritage. He received his BFA from the University of California San Diego and his MFA from the California Institute of the Arts. Rajee`s work has been exhibited at venues internationally.

Between my flesh and the world's fingers
Talena sanders
Between my flesh and the world's fingers
Doc. expérimental | 16mm | couleur et n&b | 31:0 | USA | 2018

Mary MacLane, the Wild Woman of Butte, Montana, published her diaries in 1902 and 1917. As an out queer and proto-feminist at the turn of the century, MacLane became notorious upon the publication of her 1902 diary, I Await the Devil’s Coming. She was whisked away from the industrial hellscape of her copper mining Montana hometown to a life in the public eye as an author, journalist, female film pioneer and always a provocateur - sending up social norms throughout her career, with a special focus on staid notions about women and sexuality. Between my flesh and the world’s fingers is an experimental essay and diary film primarily based on her published diaries and her film work. Though the film is not directly a personal film, the production is founded in part in the act of a woman telling her own story through that of another woman, a trailblazing figure from the past.

Talena Sanders makes moving image works that explore the development of individual and collective senses of identity in affinity groups. Her films and videos are informed by an interest in presenting the many ways that social institutions can shape individuals lives on both the broader geopolitical level and the most intimate, personal scales. A common starting point for developing new projects begins with an interest in interrogating narratives from histories and how historical records can influence senses of identity, especially as it relates to ideas of national and regional character. She believes there are endless means to present and interrogate materials from the real on the spectrum from nonfiction to narrative production approaches. Her work often places historical found/archival footage and audio in dialogue with contemporary media captured on location to question constructs of privilege and power in who gets authorized to tell the story of a shared experience. She holds an MFA from Duke University’s Experimental and Documentary Arts program and a BFA from the University of Kentucky. Her work has been screened, exhibited, and collected internationally, including at the New York Film Festival`s Views from the Avant-Garde, FID Marseille, Montreal International Documentary Festival, Fronteira Festival, Viennale, DokuFest Kosovo, BFI London Film Festival, and Southeastern Center for Contemporary Art. Her first feature documentary, Liahona, is distributed by Documentary Educational Resources and Doc Alliance. She has previously taught film and video production and film studies at Duke University and the University of Montana. She is currently an Assistant Professor of Communication and Media Studies at Sonoma State University.