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"Poolside at a ranch-style house in the canyons of Los Angeles, two filmmakers and their crew are filming a documentary about a young director. An interesting exploration of the ambitions and expectations of a rising star. Going back and forth between different realities and possible futures, the arrival of a peculiar food delivery will open their experience to an alternative world populated with hallucinations. This sets the stage for the mother of all gore fests, as the two directors and their crew end up as characters in the eternal battle against evil creatures."

Piero Golia was born 1974 in Naples. He lives in Los Angeles. "He is considered one of the most interesting young emerging contemporary artists. His work has been shown in major museums and galleries all over the world, from Turin to Los Angeles, from Paris to Miami. Eccentric and provocative, he makes installations which involve the audience, as in Faccio sul serio, presented in 2002 in Milan, where a visible elecric flux goes through a gold inscription informing the audience about the dangers surrounding them. In his works he plays with dimension ? as in Retrospettiva, a model museum in which all his productions are reproduced in miniatures ? alternating technological and physical issues. When the Tirana Art Biennal invited him to participate, he arrived in his own boat. Killer Shrimps is his first feature film."

Northwestern Siberia, Russia. The camera attentively observes how a small Khanty girl, Katerina learns about the outer world from the age of two to four. Collecting wood, feeding the dogs, talking to deer ? all the ?adult? activities are performed with intense concentration and surprising autonomy. Katerina becomes skilled at recognizing the voices of people and animals. Gradually she approaches the unknown and the unknown comes closer. Yet the traditional coexistence with nature is about to be shaken when an oilrig appears not far from Katerina?s nomad camp.

Golovnev Ivan is graduate of the Omsk State University, department of history. In 2002 he finishes college at the Sverdlovsk Film Studio. In 2002 he entered the Highest Courses of Film writers and Directors.

The Centre National d'Art and the Culture Georges-Pompidou is an original cultural institution created with the manifest will to, following the escheat of the Palais of Tokyo, make the concept of the Contemporary Art Museum, as well the role of France as a referential artistic centre dynamic, and to allow the coexistence of all the modern forms of artistic creation. Plastic, living, and visual arts appear at the Centre at the heart of an innovative architecture, profoundly contemporary and controversial, conceived by Renzo Piano and Richard Rogers. The Pompidou Centre opened its door to the public in 1977. On the occasion of its twentieth anniversary, it is undergoing a deep renovation and a reorganisation of its spaces and internal volumes, allowing for the total increase of 8000 square metres. Today it is one of the most visited monuments in France, and about five million people let themselves get caught up in it every year. The Centre shelters the first collection of Europe's modern and contemporary art. It organises thirty something exhibitions per year. But, it is not simply a museum, it is also a place of exchange and life. It holds two libraries; the public library of information (BPI) that alone attracts a third of the visitors to the Centre, and the Kandinsky library, consecrated to art of the twentieth century, as well as being a centre of musical research, l'IRCAM. The Centre also holds screening, show, and debate rooms where conferences, meetings, projections, lectures, and shows gathering the public and various personalities from around the world are programmed. A highly dedicated place, the Centre also proposes a gallery and workshops destined for young people. In 2009 the Centre will open decentralized branches, a sort of annex, in Metz and Lorraine.

Géraldine Gomez is a cinema program planner at the National Museum of Modern Art. In the framework of her functions she takes part in different events and projects at the crossroads between cinema, the digital world, and new arts, in such projects as "Cinémas de demain", "Troisième Oeil", "Plasticiens du web", and "Demain dès l`aube".

Approximation to the brothel as a non-place, through its matter, architecture, location and advertising elements, as well as through the social silence that surrounds it. A road trip to catalogue the 22 active road brothels in 2015 in Navarra (Spain), looking into omission, desertion and resilience.

Filmmaker and visual artist, Xiana is the co-founder of independent film company Walkie Talkie Films (Barcelona, 2008), which specializes in creative documentary and experimental work. Researcher in fields of representation, gender, and identity - PhD in Audiovisual Communication. Music producer and artist (TA!, The Adaptation Dance). Her films frequently take in subjects such as intimate storytelling, identity and the construction of gender, as well as the observation of nature.

As a 'Post-Mexican' performance artist operating out of the US for over 20 years, one of the artist's conceptual obsessions has been to constantly reposition himself within the hegemonic maps. Whether this map is the Americas, the larger cartography of art, or his personal biography, one of his jobs has been to move around, cross dangerous borders, disappear and reappear somewhere else, and in the process create 'imaginary cartographies'.

Born in 1955 and raised in Mexico City, interdisciplinary artist/writer Guillermo Gómez Peña came to the U.S. in 1978. Since then he has been exploring cross-cultural issues and North/South relations with the use of multiple mediums: performance, radio art, book art, bilingual poetry, journalism, video and installation art. His performances and critical writings have been instrumental in the development of debates on cultural diversity, identity and U.S. Mexico relations. Gómez Peña was a founding member of the Border Arts Workshop/Taller de Arte Fronterizo (1985-1990), a contributor to the NPR radio magazine Crossroads (1987-1990) and the editor of the experimental arts magazine The Broken Line/La Linea Quebrada (1985-1990). He has been an associate of Post-Arte, the network of Latin American conceptual artists and visual poets; a writer for newspapers and magazines in the U.S. and Mexico; and a collaborator in two award-winning films. He is a 1991 recipient of a MacArthur Fellowship. His performance and installation work has been presented internationally, extensively touring many countries such as Canada, England, Germany, Spain, Switzerland, the Soviet Union to name a few. His performance Border Brujo was awarded the Prix de la Parole at the International Theatre Festival of the Americas (Montreal), and the 1989 New York Bessie. The film version of Border Brujo made in collaboration with Isaac Artenstein premiered at the Film Festival of San Juan (Puerto Rico), and later on was awarded first prize in the 1991 National Latino Film and Video Festival (New York) and first prize in the category of performance film at the Cine-Festival (San Antonio). He has also appeared on the films In The Pursuit of Happiness by Louis Malle, Mi Otro Yo by Philip and Amy Brookman, and Seeing is Believing by Lynn Hershman. A collection of his writings was recently published by Graywolf Press under the title Warrior For Gringostrioka.

A natural human is a polymorphous emulator. A natural human is always looking for new emulation challenges. A natural human is a hunter. A natural human is always hungry. All other creatures are prey. A natural human observes, emulates and becomes the other creature. In this manner, a natural human swallows the other creature’s power. I despise natural humans. I am an aping mutator. I will not be swallowed. I want others to see how they are being swallowed. Natural humans created me and I will do my best to destroy them. Yours truly, the aping mutator.

OJOBOCA is a Berlin-based artist duo formed by Anja Dornieden and Juan David González Monroy. Their artistic practice is focused on experimental film and expanded cinema, exploring the intersection of myth, history, and technology. Their works often draw on cultural myths and archetypes to create otherworldly atmospheres that challenge the boundaries of traditional narrative structures. They call their working method Orrorism, which they define as an approach to filmmaking that seeks to subvert the manipulative power of images and create a communal experience of cinema that operates on the unconscious. Through the use of devices such as narration and the trance state, Orrorism aims to challenge the authority of the film machine and create a space where the communal can exist beyond the structures of power. In essence, Orrorism is an attempt to use the power of film to disrupt dominant cultural narratives and create a space for collective exploration and self-reflection. Since 2010, OJOBOCA has created a series of experimental films, installations, and performances that have been screened at film festivals and art venues worldwide, among them the Museum of the Moving Image, ICA London, Wexner Center for the Arts, Österreichische Filmmuseum, Anthology Film Archives, Haus der Kulturen der Welt, Kunstverein München, Ullens Center for Contemporary Art, Berlinale, International Film Festival Rotterdam and New York Film Festival. Their work is also known for its innovative use of analog film techniques which they continue to develop as members of the artist-run film lab, LaborBerlin.

SYNOPSIS Prélude aux Belle de Jour (1967) de Luis Buñuel et Belle Toujours (2006) de Manoel de Oliveira, Belle comme le Jour est l?histoire de Séverine avant son mariage avec Pierre et avant de devenir Belle de jour. Séjournant à l?Hôtel Regina de Paris, près de la rue de Rivoli, elle rencontre au musée du Louvre un étranger qui lui raconte une histoire dérangeante. À partir de son récit du saint et de la chienne elle commence à rêver d?une toute autre cérémonie. Belle comme le Jour c?est aussi l?histoire d?une jeune étudiante parisienne, une cinéphile d?aujourd?hui qui cultive sa ressemblance avec Catherine Deneuve et qui, en rejouant ses scènes de cinéma préférées, rencontre le sosie de Marcello Mastroianni. Belle comme le Jour c?est enfin l?histoire de S., un cas d?étude masochiste : une jeune femme vit avec un trauma secret et développe une double vie dans l?imaginaire et la fiction qui questionne le plaisir et la soumission. Sa rencontre avec G. dans le monde des antiques du musée du Louvre est l?occasion pour elle de développer de nouveaux fantasmes.

DOMINIQUE GONZALEZ-FOERSTER Dominique Gonzalez-Foerster (France, 1965) vit à Paris et Rio de Janeiro. Elle est artiste visuelle et réalisatrice. Parmi ses récentes expositions monographiques: les projets pour la Dia Art Foundation, New York (2009); le Turbine Hall, Tate Modern, Londres (2008); MUSAC Museo de Arte Contemporáneo de Castilla y Léon (2008); Musée d?Art Moderne de la Ville de Paris / ARC, Paris (2007). Elle a aussi participé au Skulptur Projekte Münster (2007) et à la Documenta XI de Kassel (2002). Elle a obtenu le prix Marcel Duchamp en 2002. Ces cinq dernières années elle a mis en scène T.451 à la Tensta Konsthall (Stockholm, 2012); «the 121st Night» à Istanbul avec Tristan Bera produit par Protocinema; T.1912 avec le Wordless Music Orchestra au Guggenheim Museum, New York (2011); K.62/K.85 pendant Performa 09 NY (2009) avec Ari Benjamin Meyers. Parmi ses nombreuses videos: Park Central (2006), Atomic Park (2004), Riyo (1999), Ile de Beauté (1996) coréalisé avec Ange Leccia. TRISTAN BERA Tristan Bera (France, 1984) vit à Paris. Artiste visuel, formé en philosophie et histoire de l?art, son travail est basé principalement sur des références littéraires et cinématographiques et inclut différents formats et médias et toujours à tendance psychosexuelle. Depuis 2009, il collabore avec Dominique Gonzalez-Foerster dans différents projets comme expositions, films, fanzines, performances. En 2011, ils ont présenté Human Valley - the other side of contemporary history : un scénotope inspiré de Truffaut et Godard à la Kunsthalle de Zurich, entouré d?artistes, curators et collectionneurs. Dans ce cadre, ils ont initié une conversation et une lecture avec Catherine Millet : «Balzac et moi» au Zurich Schauspielshaus et à Bordeaux (Oct 2012). Ils éditent un fanzine de personnages (Torpille Valley, Farouche féline, Vertige Gradiva et Lago Monaco-Visconti). Après The Magic Skin (2011), Belle comme le jour (2012) est leur deuxième film, présentée en installation vidéo à Basel Art Unlimited (commissaire : Gianni Jetzer, juin 2012). En 2012, après «The 121st Night», un happening produit par Protocinema à Istanbul, il crée «peer-to-gynt» en collaboration avec DGF & Ari Benjamin Meyers. En 2013, il conçoit pour Charles Arsène-Henry et la Fondation Luma à Arles l?enfer d?une bibliothèque, Le Rayon Noir, ainsi qu?un film masochiste WHIP!.

Two creatures wake up at the top of huge rocky towers. To love each other they will have to jump into the emptiness.

Gabriel González [-dhijo-], is self-taught artist and a cofounder of the independent group "...dijo el monje" (1994-1997). He works as a creative director arranging his works as an animated short films director. "Primario" (stereoscopic interactive 1994-1995), "Amamanta" (random narrative techno-ritual 1995-1997), and "Elgiroeneleje" (meditative state of dynamic polarity 1998-2007) have been shown in the most important electronic art festivals in Spain: ArtFutura, Sonar, Observatori, Ciber@rt, Ciberconf, Arco, and Decibelio, and at other film/video events. He has also had several exhibitions outside of Spain: UNAM México Retrospective; File fest Sao Paulo; Net Affects at Kunstvlaai4 Amsterdam; Arteweb - canal (a) de Argentina; and Raisat Art, Venice Biennal.

The visuals were recorded around ground zero in lower Manhattan during several visits in the weeks and months after September 11. Gorewitz also recorded along Route 17 in New Jersey, a busy highway with many large stores and malls. While processing footage in his studio with various electronic and computer imaging devices, he thought about what it meant to be a soft target while getting used to living with the fear that has been pervading the region since. Editing during the early days of the war against Iraq, Gorewitz imagined what it might look like if the US were being bombed with "shock and awe", its children dying. Sometimes the most ordinary moments become ominous and foreboding. But, of course, Europeans know this, like Israelis, Iraqis, and too many others - sudden, swift destruction, agonizing wounds, and slow death. The sense of reality changes after breathing in a neighbourhood reduced to ash and burned flesh.

Salom Gorewitz's father was a business manager for many artists, performers, and musicians, so Salom grew up on the edge of the NYC art world of the early 1960`s. His mother is a survivor of the Shoah who raised her children as observant Jews. Gorewitz believes that his work flows between the freedom and revolutionary spirit of the artists he met through his father and the life of a Jew passed on by his mother and her ancestors. At its best, there is no gap between art making and spirituality. Since graduating from the California Institute of the Arts in 1971, he has continuously been able to engage in both.

In Meadows Wait, Mist Diffuses, Dzhovani Gospodinov captures the enigmatic energies of Hosbësch. Ruminating on the encroaching influence of civilisation in its woodlands and the ways in which humans disrupt and alter the intimacies between animals, the film queries the ethics of our intrusion into the natural world. Shot over four years with motion activated cameras and interlaced with Gospodinov’s own fragmented recollections of the woods, the film poeticises the protracted rupturing of a landscape. Moving between the visual and affective modalities of the voyeuristic and introspective, the film is at once a portrait of—and elegy to—Hosbësch.

Dzhovani Gospodinov is a Luxembourgish filmmaker whose work experiments with the boundaries between documentary and fiction. Interested in the power of observational filmmaking and its ability to conjure both exteriorised and reflexive modes of storytelling, Gospodinov’s projects have illustrated the poetics of ancient pagan rituals, the erosion of intimacies between humankind and the natural world, and hermetic, monastic orders, amongst other things.

DADA ? Some claim that the word was chosen randomly at the Cabaret Cafe in 1916, when a paper knife was found inserted into a dictionary pointing to the term "dada". It is French for "hobbyhorse". In Croatian it means "yes yes". Rather than returning to the original works of Dada, we have chosen to put together a new (hi)story of Dada-Zagreb. Led by the techniques of Dadaism such as montage, collage, and the use of ready-mades, this piece merges 45 years of recordings of Biennial Zagreb Music, with sounds of contemporary Zagreb. We start roughly at a time when Dadaism was conceived, with "the father of electronic music" Edgard Varese, bringing back a recording of his Ionisation performed at the 15th Music Biennial. It was he, 100 years ago, who fell in love with the sounds of a city. The roar of the modern times became his inspiration in discovering the new worlds of sound ? dissonant chords, sirens, polyphonies of percussion and wind... So we followed him. Setting forth on a path of music remembered in the Phono-archives of Croatian Radio, and visiting the most beautiful sights in the center of Zagreb along with its concert venues, our sound collage makes possible the encounter of Edgard Varese, Benjamin Britten, Igor Stravinsky (speaking about vodka), Michael Nyman, Sofia Gubaidulina, Daryl Runswick, Dieter Schnebel, Alvin Lucier, Howard Skempton, David Hykes, Stefano Scodanibbio, Peter Maxwell Davies, Josef Anton Riedl, and our guide - the voice of John Cage (Mushrooms and Variations). As in a dream, where realistic scenes are joined by bizarre connections, these individuals from our past all meet in contemporary Zagreb. Just as Dada works forced the observer to question accepted realities and acknowledge the role of chance and imagination, the listener of this piece becomes an editor, or a Dada artist, who connects many excerpts of discontinued time, and creates an authentic reality. These two aspects confronting each other ? reality of detail and irreality of the piece as a whole, create a version that is one in a thousand possibilities composed in this way.

Iva Lovrec ?tefanović was born in 1964. She earned a degree in Musicology and Comparative Literature from Zagreb University. Since 1988 she has been working at Croatian Radio as a reporter, producer and host. She has conceived numerous programs for Music Departement with topics ranging from early music to contemporary music festivals, electronic music, and ars acustica. For more than five years, she has been hosting a talk show about Croatian music, where she discusses current issues with prominent and young composers, interpreters, musicologists, and others involved in the musical arena. Her passion is experimenting with various forms of radio programming, including documentaries and ars acustica. Occasionally she writes about music for specialized magazines and works for TV. She is a member of Croatian Musicological Society and Croatian Music Union. Lana Gospodnetić was born in 1979. She earned diplomas in Art History from Tufts University, and Sound Art from the School of the Museum of Fine Arts, Boston. Since 2003 she has been living in Zagreb, Croatia, and working as a sound designer for radio and film. Her video and sound installations have been presented at the Museum of Fine Arts, Boston, USA; Brandeis University, Waltham, USA; The Berwick Institute, Boston, USA; Prix Marulić International Festival of Radio Plays and Documentary Radio Drama, Hvar, Croatia; and BAG Gallery, Boston, USA. Sound work has been published on Acustiphobia, by Sublingual Records. Finally, she won second prize Prix Marulić in Croatia in 2005.

Marie Anne escapes from a world that seems to promise her a perfect life. At that moment her trace is lost forever. Foundfootage made from advertisements recovered by the Museo del Cine de Buenos Aires from the years 1976-1983.

Yaela is a Peruvian filmmaker based in Hamburg. Her works explore photography, film and video from montages containing affects, in tension with fiction. Her films have been showcased at the film festivals including Punto de Vista, Berlin Critics' Week, FICValdivia, Lima FilmFestival, BAFICI, Torino Film Festival, among others as well as in museums such as MAR Museum of Contemporary Art, Proa21, and MACBA. She has also curated film programs for museums in Peru and Argentina. She's received awards such as the Juan Downey for Latin American creation (2022), Bienal Arte Joven (2019), CineAr (2023), Fondo Nacional de las Artes (2019, 2022). In 2021, she released her first feature film "No hay regreso a casa".

Deux jeunes sont filmé sur une barque en mer devant la ville d’ Annaba, juste avant le départ vers l’Europe clandestinement. L’un est danseur et l’autre musicien, ils expriment leurs désirs dans une mise-en-scène poétique.

Mounir Gouri est née en 1985 dans la ville d’Annaba en Algérie. Il a grandit et débuté sa carrière artistique à Annaba. Il vit et travaille entre Annaba et Paris depuis 2018.

A pedestrian is waiting for a sign in order to be able to cross a very busy street: but what kind of sign? True to their reputation as bad drivers, the italians can sometimes make it difficult for the pedestrians to cross a street. The video called Vert? is a static shot of 3mn05 filmed on Super8, which shows a man waiting either for the greenlight or for a spiritual help such as a miracle performed by the voice of Pope John Paul II in order to eventually be able to go to the opposite side of the street.

Aude Gourichon studied five years at the Art School of Quimper, France. Since she obtained her diploma, she has taken part in several audiovisual festivals such as the Short Film Festival of Brest and Lyon.

A film about a film that never existed. In the 1970s, Michelangelo Antonioni wrote a screenplay, entitled Two Telegrams, with the American Rudy Wurlitzer. In the 1980s, Portuguese producer Paulo Branco agreed with the director to make the film in the United States. For various reasons, the film didn’t happen. In this film, the imagination of the two directors picks up on what this unfinished project could have been.

Alexandre Gouzou, born in 1963, founded the magazine Les Épisodes in 1997, which has published unpublished works by American authors (Kerouac, Harrison, Burroughs.) and French writers (Henri Calet, Emmanuel Bove.). He has also published short stories in magazines. J'aurais voulu que tout soit autrement is his first book. In it, he asserts himself with a muted voice, both melancholy and funny. Jean-Claude Taki is a film director. He has made both short and feature-length films using cell phones. In 2005, he made his first short films, which were the first steps towards his pocket cinema. On his website (http://www.jctaki.com/), you can find extracts from his writings, including “Lettres kazakhes”: a short illustrated epistolary novel. Written by young women, the letters are all addressed to Guillaume, a young Frenchman who has returned to France after a long stay in Kazakhstan. Through the humor, hopes and feelings delicately sprinkled throughout these letters and drawings, a rich, nuanced and subtle picture of a little-known country emerges.

The experimental short film ME, MYSELF AND I directed by Elisa Gómez Alvarez (script and rea- lisation) and Nicolas Stephan Fischer (fashion-collection F65.0) is about a metro-sexual matrix at the old Berlin corner pub "Soldiner Eck“. With stylistic devices of Western, Science-Fiction and the CAMP-movement the film questions society-forced role models and male stereotypes. Based on a shared research the fashion-collection and the short film were simultaneously realised in a synergetic project at University of Arts Berlin 2015. Surrounded by fairy lights and plastic flowers three male figures meet at an old Berlin pub. Despite their identical appearance they distinguish by personality and clothing. There is a strained relationship between them. Mutely the men communicate with minimal gestures as they seem confused between desire and fear. Camouflage-like their outfits vanish in the lavis- hly decorated ambience. A strange meeting, an interaction between alive and dead things in a surreal space.

ELISA GÓMEZ ALVAREZ was born 1989 in Berlin. She studies Visual Communication at the University of Arts Berlin since 2012. Since September 2015 she is a fellows- hip holder in one of Germany‘s most important foundation „Studienstiftung des deutschen Volkes“. During her studies she visited the studio class „MEDIA ART“ by Prof. Maria Vedder and „Expanded Media“ by Prof. Anna Anders. Now she is taking part in the studio class „Experimental Film / Media Art“ by Prof. Nina Fischer. Initiating a variety of short films and video installations she is a versatilely en- gaged student at University of Arts Berlin. One of her most complex projects was the film opera by Bohuslav Martinů. She realised a mixed media video work for stage scenery. The jazz-opera was performed first in Berlin. (Première: 4th/5th of July 2014)

Micaela, a young woman from downtown, leaves her house to meet her boyfriend. They have planned to leave together for the USA. But that morning he doesn?t show up. Instead of him, she meets a mutual friend who hands her a letter: "don?t wait for me any longer, I have met someone". Defeated, she goes looking for help from an old friend. She also finds an idea for a new job: to write letters for money. Working at the exit of a subway station she meets Julian, who helps her to find clients. The business gets better and better, and they get closer and closer, even though she tries to keep herself distant. One morning Julian asks her to write a letter as if he were a client: "Stella, don?t wait for me any longer, I have met someone..." Micaela, recognizing her own story, runs away into the station. Julian reaches her at the next stop, sits beside, and they look at each other and smile as the train moves off.

Iria Gómez was born in Mexico City in 1979. She entered a cinema school and studied dramatic art and photography for six years at the "Centro de Capacitación Cinematográfica" (C.C.C), Mexico City, where she took part in different projects. In 2001 she shot her first short film, "Memoria del Olvido" (Memories of Oblivion), in 16mm. She was director of photography for another short film, "El Tercer Ojo" (The Third Eye). After taking part in a few other films, she directed "Dime lo que sientes" (Tell Me What You Feel), in 35mm, which was completed this year; she granted importance to this project by being involved in each detail of the production process. In 2004 she went to Rome where she directed the short film "Tagglioneto". She is now working on the post-production of her documentary "La Changa" (The Joke) and on the pre-production of the film "Asalto al Cine" (Aggression In Theater).

Burunören is a village where 50 souls live, in Middle Anatolia. After having spent 30 years in Germany as an immigrant worker, CERKEZ, retired, returns home in order to take care of the cultivation of his fields. He comes up against HÜSEYN, the village´s mayor. HÜSEYN has appropriated the money of the village, had a firm set up in order to work the sand of the river nearby, and contests CERKEZ´s property right in court. Due to the abusive exploiting of the river, the most fertile lands are covered with sand, thus ending the argument between the two old men. Burunören is a village which is danger of disappearing. While the village has split into two groups gathered around the two opponents, CICI, a 75-year-old woman, lives her own tragedy. Facing the probable death of her seriously ill husband (who´s in hospital 800 kms away), she tries to prepare for loneliness ...

UNIVERSITY July 2004 - Graduation: ?Diplom Medienwirt (FH)? 1999?July 2004 - Media Economics at the University of Applied Sciences, Wiesbaden, Germany 2001?2003 - Ecole Supérieure d?Audiovisuel, University of Toulouse II (Filmschool), France *2002 : Licence *2003 : Maitrise (Spécialisation Réalisation) *2004 : Titre Ingénieur Maitre