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The Utopia Fairy in four parts: her sung angers, her spontaneities and magic somersaults accompanied by social fairness and mysterious music. The story´s background: "We are complex and we are deceived by what we see/What do you know of me when looking at me? I could be a terrorist, a nurse, an astronaut? I smile at you but you disgust me. The anger of being small and full of hopes in front of mediocre fatality. Even blue fairies making bubbles can be wasted, but tomorrow i'll feel better...

v.hubert, was born in 1970. She lives and works in Alfortville/Paris and is represented by the Galerie Quang, Paris. "For a decade, Véronique Hubert has been elaborating a complex work which can not be confined to the agitated humor that we can find in it. Working with numerous skills, her eclecticism contrasts with the seriousness of her themes. Her works takes form with the superposition of her means of expression: video, flyers, drawings, photographies and writings (since 1995). A strong knowledge of art history, cinema, the medical field, electronic music as well as an endless curiosity give to the artist a very rich structure that she shows in her fictional constructions, short stories or sketches interpreted by characters who are falsely childish "pretexts", and displaying paranoiac drifts."Extract from "La bonne position", France, Valliccioni 2004.

Video graphic poem. Adaptation of drawings on Leporello paper of 20 pages. Since HUMAN CHAOS (NOUTRES/Little girls must be warned) 2020, I transpose the drawings into video poems. This is another way of reading this story of the movements of the fairy Utopia in the process of graphic writing. This is episode 2 of his escape. Utopia has secretly left its place of life. Wandering, thoughts and daydreaming is going towards “you”

Visual artist, vj-dj, teacher, organizer of artistic events and collectives, (B&b unlimited, the core, the Inapproprié.e.s, Femn'Furious) In the Jerk Off Festival team since 2019. Mixed race and feminisms are gradually materialize through his choices of various mixed techniques: audio-visual, performances, live mixing, graphic writing and in their incessant connections. The sources can be iconic or literary, sociological or poetic, past or current, historical or banally believed. It has featured fictional characters since 1996, such as the fairy UTOPIA who is found in performances, burlesque situations, in drawings, photographs, editions, installations or videos. The main role of his approach remains the absurdity of our self-centered and anthropocentric human comedy.

On the Dorkel's grounds (a family of gypsy travellers) time goes by as always between thieving and poaching. Nothing would have changed for the eldest called Fred, if he hadn't met an angel, his angel.

Born June 22 1968 in Eaubonne, he lives and works in Paris. He has a degree from the Cergy-Pontoise Art School. It is through diverse mediums; objects, writings, and films, that he tries to create a life journey. Principally it is the one of the gypsy (traveller) world that has held his interest for more than ten years. But it is also the attempt to construct a memory that like a kaleidoscope would reflect a multitude of lived or desired images. On the good days the images achieve a certain enchantment that betrays well a naive desire to see the piece of meat that we are fly away elsewhere. In this, the artist's gypsy cousin Fred gave him one of the most beautiful occasions of his life to re-transcribe in a film ("Un Ange") the quasi-desperate attempt of the flight.

Chez les Yéniches, communauté de gens du voyage, le respect des aînés et la ferveur religieuse côtoient indifféremment le vandalisme. Fred Dorkel est l'un d'entre eux : craint et estimé par les siens, il vit du vol de voitures. Une nuit, sa vie bascule : un ange lui apparait. Pour Fred, c'est le signe d'une seconde chance qu'il doit saisir. Il décide de se ranger, mais ce choix va l'opposer à sa famille...

Jean-Charles Hue (né en France en 1968) vit et travaille à Paris. Après des etudes à l'École Nationale d'Arts de Cergy-Pontoise, l'artiste est sélectionné pour la résidence "Villa Medicis Hors-les-murs" à Monterrey au Mexique, où il tourne plusieurs films, dont Carnaval Pitbull qui reçoit le premier prix au festival Loop Barcelona en 2006. En 2009, il retourne au Mexique pour tourner une serie de films. Il a été récompensé par le "Golden award" du festival de film Impakt à Utrecht, le prix Mulhouse 002, et nominé pour le prix Gilles Dusein. Ses films sont souvent projetés dans des programmations et festivals du monde entier (Festival Hors pistes - Centre Pompidou-Paris, Rencontres Internationales Paris/Berlin/Madrid, Art Forum - Berlin, festival Courtisane - Gent, Impakt Film Festival - Utrecht...). Jean-Charles Hue a déjà réalisé huit expositions personnelles en France, en Hollande et au Mexique (Ricard Foundation, Galerie Michel Rein, Alliance Française in Mexico, Villa Steinbach of Mulhouse...) et ses travaux ont étés présentés dans de nombreuses expositions collectives.

Aequador is an alternate history built as a travel account without words: an equatorial dystopia evoking the excesses of a progressist and modernist dream in Latin America during the twentieth century. We imagined a bygone era where an extremist ideology would tried to conquer the Amazon territory. The film describes in a composite and voluntarily fragmented way this parallel present, where fake ruins and relics of utopian architecture in 3D coexists with vernacular constructions and daily lifes of human beings.

A journey to a Land Otherwise Known is inspired from the first accounts of the natural and ethnographic explorations in America by Conquistadors, missionaries and scientists. The film is entirely shot in the Tropical Greenhouse of Lille, a building constructed in 1970 by Jean-Pierre Secq, a sort of reinforced concrete botanical Crystal Palace. The architecture and the plants of this closed place are used as narrative supports for an initiatory journey, presenting the speech of an "explorer" and his visions. The film evoques the origin of the « New World » and the images that it engendered.

Laura Huertas Millan was born in Bogota in 1983. In 2001 she's the laureate of the "Excellence" scolarship of the "A.E.F.E" and in 2003 of the "Major" scolarship for university studies in France. Before joining "Le Fresnoy" in 2010 she gets a diploma from the Beaux-Arts of Paris with distinction. Her videos have been shown in various festivals and exhibitions in France (FID 2010, Biennale Mulhouse 010, Traverse Vidéo 2010, Saison Vidéo 2011) and in Latin America (Museum of Contemporary Art of Chili, University of la Plata in Argentine, Museum of Modern Art of Bogota, Colombie...). Since 2009, she directs a series of monotapes focusing on the concept of exoticism, including "Sin Dejar Huella" (2009), "Orénoque" (scolarship of "Aide à la Création" of the city of Paris, 2010) and "Voyage En La Terre Autrement Dite" (Le Fresnoy production, 2011). She's preparing the last instalment of this series, "Los Elegidos", which will be filmed in columbian Amazon in 2012.

The fabrication ritual of the green coca powder (called mambe or "Jiíbie") unveils an ancestral myth of kinship. In the Muiná-Muruí community, the coca plant is not a product, but a sacred interlocutor, the beating heart of a collective body.

Laura Huertas Millan is a French-Colombian filmmaker and visual artist, whose practise stands at the intersection between cinema, contemporary art and research. Selected in cinema festivals such as the Berlinale, Toronto International Film Festival (TIFF), Rotterdam International Film Festival, New York Film Festival and Cinéma du Réel, her films have earn prizes at the Locarno Film Festival, FIDMarseille, Doclisboa and Videobrasil, among others. More than twenty retrospectives and focus of her work have been organised around the globe, in cinematheques such as Toronto ?s TIFF Lightbox, Harvard ?s Film Archive or Bogota ?s cinematheque, and leading film festivals as Mar del Plata and Rencontres du Documentaire de Montreal. In the art field, her latest solo exhibitions were held at the MASP Sao Paulo, Maison des Arts de Malakoff and Medellin ?s Modern Art Museum. Her films have also been exhibited and screened in art institutions (Centre Pompidou Paris, Jeu de Paume, Guggenheim Museum NY, Times Art Berlin) and biennials (Liverpool, FRONT Triennial, Videobrasil, Videonnale). They are part of private and public collections (Kadist, CNAP, Banco de la República de Colombia, CIFO, FRAC Lorraine, and others). Huertas Millan holds a practise-based PhD on “Ethnographic Fictions” developed between PSL University (SACRe program) and the Sensory Ethnography Lab (Harvard University). She works as an educator in academic and alternative spaces. Since 2019, Huertas Millan is part of a research-based duo with curator and writer Rachael Rakes on critical anthropology and the aesthetics and politics of the encounter.

Enemy Blue explores the precarious nature of the video through a narrative on propaganda and ?friendly fire?. The work conflates material from a number of sources, namely, a Committee report made to the United States House of representatives by Edward Hunter, a U.S. governmental investigation ?Misleading Information from the Battlefield: the Tillman and Lynch episodes? and Gerhard Richter?s published notes on political ideology. The work is an attempt to explore the failure of video to articulate politicized historical narratives. Despite the proliferation of digital high definition technologies our access and experience to the wider world is largely mediated through ?poor? images. Hand held camera-phones, telecined archive material, surveillance footage and low-res streams proliferate the political landscape. In an aesthetic anomaly our relationship to these images define a kind of authenticity or participation in the construction of political realities; that despite their lack of information or detail they become imbued with a semblance of truth. In turn the work identifies the use and control of such ?poor? forms as an aspect of political propaganda. While each dialogue offers it?s position in contrast or opposition to a polarized political position, by implication of its subject, it?s meaning is by turns, entirely reversible.

Allan Hughes is an artist from Belfast based in Newcastle Upon Tyne. His video installation work explores the production of remediated histories through the deconstruction of post-production processes. Hughes? works usually proceeds from research into the sites, documents and apparatus of recorded and remediated histories His works examine the precarious position of subjectivity within the constructed narratives of history and the processes of their representation and reception. Hughes unpacks the processes of remediation and establishes a place that privileges listening and the rediscovery of subjective and heterogeneous positions within these narratives. The last year has seen exhibitions of his work at the Belltable Art Centre, Limerick, where he had a solo exhibition and as a part of Temple Bar Gallery?s ?Lights, Camera, Action!?. His work was included in the 2011 Tulca Arts Festival and Rencontres Internationales. In 2010 he was awarded the ACNI Major artist award and in 2009 he was the recipient of a six-month Artist?s Residency Programme at the Irish Museum of Modern Art in Dublin. He has exhibited both nationally and internationally with work shown in the Mediations Biennale in Poznan Poland, UNOACTU in Dresden, the Ormeau Baths Gallery Belfast and the Beursschouwburg in Brussels amongst others.

En 1798, Hölderlin écrit sa première des trois versions d`Empédocle, sa seule pièce de théâtre, un " Trauerspiel ", entre tragédie et requiem. Il a traduit par la suite Antigone et ?dipe de Sophocle. C`est à partir de cette première version que Danièle Huillet a travaillé à une traduction qui est celle du film, et qui a paru aux éditions Ombres. Le découpage, en 147 plans, a été fait par Jean-Marie Straub.

Danièle Huillet est née à Paris le 1 mai 1936. Elle grandit à la campagne, à La Queue-les-Yvelines. Vers 1948 elle retourne à Paris, poursuivre ses études au Lycée Jules Ferry. Elle se prépare pour l`IDHEC, mais refuse lors du concours d`entrée d`analyser le film Manèges de Yves Allégret, qu`elle qualifie comme indigne d`un examen.

October 27, 2005, at Clichy-sous-Bois, three panic-stricken young men, tracked by the police, take refuge in the restricted perimeter of an electric transformer. Two will die, burned alive, Bouna and Zyed. If you are still crying...

L`histoire d`une jeune fille de Metz.

Jean-Marie Straub naît le 8 janvier 1933 à Metz, où il dirigera un ciné-club de 200 à 700 membres de 1950-51 à 1954-55. A partir de la fin 1940, il est forcé comme tous les Lorrains, de ne plus parler et de n`écrire qu`en allemand. En 1951-52 il est étudiant à l`université de Strasbourg et en 1952-53 et 53-54 à l`université de Nancy. Avec le projet de tourner un film biographique de long-métrage (Chronik der Anna Magdalena Bach), il part en novembre 1954 pour Paris où il rencontre Danièle Huillet. Il écrit quelques articles pour Radio-Cinéma-Télévision, assiste et voit un peu le tournage de La Tour de Nesle de Gance, French Cancan et Eléna et les hommes de Renoir, Le coup du berger de Rivette, Un condamné à mort s`est échappé de Bresson et Une vie d`Astruc. En juin 1958 il quitte la France pour Amsterdam, et finalement pour l`Allemagne, où il entame la même année un voyage de deux ans sur les traces de Jean Sébastien Bach. Il est condamné par contumace à un an de prison par le tribunal militaire de Metz pour s`être refusé d`accomplir son service en Algérie. L`amnistie prescrivant l`extinction des répressions pénales qu`il encourts interviendra en 1971. Jusqu`à la fin de l`année 1969 il habite à Munich. Depuis il vit dans un des faubourgs de Rome. Danièle Huillet est née à Paris le 1 mai 1936. Elle grandit à la campagne, à La Queue-les-Yvelines. Vers 1948 elle retourne à Paris, poursuivre ses études au Lycée Jules Ferry. Elle se prépare pour l`IDHEC, mais refuse lors du concours d`entrée d`analyser le film Manèges de Yves Allégret, qu`elle qualifie comme indigne d`un examen.

Il y a très peu de personnes pour se représenter la réalité de ce qui n'apparaît dans le langage courant que sous la forme de clichés. Il en va pour eux comme pour ce réserviste autrichien à propos duquel une anecdote du début de la guerre raconte ceci: Passé rapidement et dans l'enthousiasme du bureau au service militaire actif, il se retrouve avec son détachement près d'une forêt d'où des Russes nichés dans les arbres faisaient feu. Indigné, il les enguirlande: "He bien, qu'est-ce que c'est que ça? Qu'est-ce qui vous prend de tirer? Vous ne voyez pas qu'il y a des gens qui passent? Il pourrait arriver le pire ". Il s'était imaginé que la guerre se déroulait comme un sur un terrain d'exercice! Il était enthousiaste parce qu'il n'avait aucune idée de la réalité! Combien de choses néfastes seraient évitées dans la vie, en politique, dans l'art, dans toutes les affaires privées, si chacun pouvait se représenter leurs effets, si le politicien par exemple pouvait se représenter ceux qu'il recommande de tuer, si le chef mesurait l'effet d'un licenciement, l'employé les conséquences d'une négligence. http://www.viennale.at/de/archiv/frame_title.html

Jean-Marie Straub (né en 1933 à Metz) grandit avec la langue française mais est obligé d'apprendre l'allemand sous l'occupation nazie. Il étudie la littérature à Strasbourg et à Nancy, va en 1954 à Paris où il travaille comme assistant pour Jean Renoir, Abel Gance, Alexandre Astruc et Robert Bresson; Il y rencontre celle qui deviendra plus tard sa femme, Danièle Huillet (née en 1936 à Paris). Tous leurs films sont des réalisations communes. Pour échapper à l'incorporation de Straub, c'est-à-dire à une participation à la guerre d'Algérie, le couple part en Allemagne en 1958. C'est là que commence leur travail cinématographique propre, avec les adaptations d'Heinrich Böll Machorka-Muff (1962)et Nicht versöhnt (1965),qui se heurtent, à l'exception d'un petit nombre d'avis favorables comme celui de Jean-Luc Godard, à un rejet massif. Leur manière radicale de procéder est critiquée et qualifiée de "dilettante". Ce n'est qu'avec le film suivant, Chronik der Anna Magdalena Bach (1967)la biographie non conventionnelle d'une musicienne, que l'on commence à considérer sérieusement les créations strictement politiques et matérialistes de Straub/Huillet. Durant les 35 années suivantes, ils partagent leur temps entre l'Italie, la France et l'Allemagne. Ils travaillent de façon conséquente sur de la matière littéraire et musicale: un drame de Corneille peu connu (Othon); une lettre et deux opéras d'Arnold Schönberg (introduction à la musique d'accompagnement pour une scène de film, Moïse et Aron et Du jour au lendemain); des oeuves de Brecht(Geschichtsunterricht, en fr: cours d'histoire), Kafka (Klassenverhältnisse, en fr: rapports de classe)et Hölderlin (la mort d'Empédocle); des textes de Marguerite Duras (En rachâchant) et Elio Vittorini (Sicilia!) ? mais aussi de Gasquet, biographe de Cézanne, comme dans leur dernière oeuvre Une visite au Louvre. La première de ce film en Autriche (1er Octobre) constitue un prélude à la rétrospective. http://www.filmmuseum.at

En 1798, Hölderlin écrit sa première des trois versions d`Empédocle, sa seule pièce de théâtre, un " Trauerspiel ", entre tragédie et requiem. Il a traduit par la suite Antigone et ?dipe de Sophocle. C`est à partir de cette première version que Danièle Huillet a travaillé à une traduction qui est celle du film, et qui a paru aux éditions Ombres. Le découpage, en 147 plans, a été fait par Jean-Marie Straub.

Danièle Huillet est née à Paris le 1 mai 1936. Elle grandit à la campagne, à La Queue-les-Yvelines. Vers 1948 elle retourne à Paris, poursuivre ses études au Lycée Jules Ferry. Elle se prépare pour l`IDHEC, mais refuse lors du concours d`entrée d`analyser le film Manèges de Yves Allégret, qu`elle qualifie comme indigne d`un examen.

October 27, 2005, at Clichy-sous-Bois, three panic-stricken young men, tracked by the police, take refuge in the restricted perimeter of an electric transformer. Two will die, burned alive, Bouna and Zyed. If you are still crying...

L`histoire d`une jeune fille de Metz.

Jean-Marie Straub naît le 8 janvier 1933 à Metz, où il dirigera un ciné-club de 200 à 700 membres de 1950-51 à 1954-55. A partir de la fin 1940, il est forcé comme tous les Lorrains, de ne plus parler et de n`écrire qu`en allemand. En 1951-52 il est étudiant à l`université de Strasbourg et en 1952-53 et 53-54 à l`université de Nancy. Avec le projet de tourner un film biographique de long-métrage (Chronik der Anna Magdalena Bach), il part en novembre 1954 pour Paris où il rencontre Danièle Huillet. Il écrit quelques articles pour Radio-Cinéma-Télévision, assiste et voit un peu le tournage de La Tour de Nesle de Gance, French Cancan et Eléna et les hommes de Renoir, Le coup du berger de Rivette, Un condamné à mort s`est échappé de Bresson et Une vie d`Astruc. En juin 1958 il quitte la France pour Amsterdam, et finalement pour l`Allemagne, où il entame la même année un voyage de deux ans sur les traces de Jean Sébastien Bach. Il est condamné par contumace à un an de prison par le tribunal militaire de Metz pour s`être refusé d`accomplir son service en Algérie. L`amnistie prescrivant l`extinction des répressions pénales qu`il encourts interviendra en 1971. Jusqu`à la fin de l`année 1969 il habite à Munich. Depuis il vit dans un des faubourgs de Rome. Danièle Huillet est née à Paris le 1 mai 1936. Elle grandit à la campagne, à La Queue-les-Yvelines. Vers 1948 elle retourne à Paris, poursuivre ses études au Lycée Jules Ferry. Elle se prépare pour l`IDHEC, mais refuse lors du concours d`entrée d`analyser le film Manèges de Yves Allégret, qu`elle qualifie comme indigne d`un examen.

Il y a très peu de personnes pour se représenter la réalité de ce qui n'apparaît dans le langage courant que sous la forme de clichés. Il en va pour eux comme pour ce réserviste autrichien à propos duquel une anecdote du début de la guerre raconte ceci: Passé rapidement et dans l'enthousiasme du bureau au service militaire actif, il se retrouve avec son détachement près d'une forêt d'où des Russes nichés dans les arbres faisaient feu. Indigné, il les enguirlande: "He bien, qu'est-ce que c'est que ça? Qu'est-ce qui vous prend de tirer? Vous ne voyez pas qu'il y a des gens qui passent? Il pourrait arriver le pire ". Il s'était imaginé que la guerre se déroulait comme un sur un terrain d'exercice! Il était enthousiaste parce qu'il n'avait aucune idée de la réalité! Combien de choses néfastes seraient évitées dans la vie, en politique, dans l'art, dans toutes les affaires privées, si chacun pouvait se représenter leurs effets, si le politicien par exemple pouvait se représenter ceux qu'il recommande de tuer, si le chef mesurait l'effet d'un licenciement, l'employé les conséquences d'une négligence. http://www.viennale.at/de/archiv/frame_title.html

Jean-Marie Straub (né en 1933 à Metz) grandit avec la langue française mais est obligé d'apprendre l'allemand sous l'occupation nazie. Il étudie la littérature à Strasbourg et à Nancy, va en 1954 à Paris où il travaille comme assistant pour Jean Renoir, Abel Gance, Alexandre Astruc et Robert Bresson; Il y rencontre celle qui deviendra plus tard sa femme, Danièle Huillet (née en 1936 à Paris). Tous leurs films sont des réalisations communes. Pour échapper à l'incorporation de Straub, c'est-à-dire à une participation à la guerre d'Algérie, le couple part en Allemagne en 1958. C'est là que commence leur travail cinématographique propre, avec les adaptations d'Heinrich Böll Machorka-Muff (1962)et Nicht versöhnt (1965),qui se heurtent, à l'exception d'un petit nombre d'avis favorables comme celui de Jean-Luc Godard, à un rejet massif. Leur manière radicale de procéder est critiquée et qualifiée de "dilettante". Ce n'est qu'avec le film suivant, Chronik der Anna Magdalena Bach (1967)la biographie non conventionnelle d'une musicienne, que l'on commence à considérer sérieusement les créations strictement politiques et matérialistes de Straub/Huillet. Durant les 35 années suivantes, ils partagent leur temps entre l'Italie, la France et l'Allemagne. Ils travaillent de façon conséquente sur de la matière littéraire et musicale: un drame de Corneille peu connu (Othon); une lettre et deux opéras d'Arnold Schönberg (introduction à la musique d'accompagnement pour une scène de film, Moïse et Aron et Du jour au lendemain); des oeuves de Brecht(Geschichtsunterricht, en fr: cours d'histoire), Kafka (Klassenverhältnisse, en fr: rapports de classe)et Hölderlin (la mort d'Empédocle); des textes de Marguerite Duras (En rachâchant) et Elio Vittorini (Sicilia!) ? mais aussi de Gasquet, biographe de Cézanne, comme dans leur dernière oeuvre Une visite au Louvre. La première de ce film en Autriche (1er Octobre) constitue un prélude à la rétrospective. http://www.filmmuseum.at

En 1798, Hölderlin écrit sa première des trois versions d`Empédocle, sa seule pièce de théâtre, un " Trauerspiel ", entre tragédie et requiem. Il a traduit par la suite Antigone et ?dipe de Sophocle. C`est à partir de cette première version que Danièle Huillet a travaillé à une traduction qui est celle du film, et qui a paru aux éditions Ombres. Le découpage, en 147 plans, a été fait par Jean-Marie Straub.

Danièle Huillet est née à Paris le 1 mai 1936. Elle grandit à la campagne, à La Queue-les-Yvelines. Vers 1948 elle retourne à Paris, poursuivre ses études au Lycée Jules Ferry. Elle se prépare pour l`IDHEC, mais refuse lors du concours d`entrée d`analyser le film Manèges de Yves Allégret, qu`elle qualifie comme indigne d`un examen.

October 27, 2005, at Clichy-sous-Bois, three panic-stricken young men, tracked by the police, take refuge in the restricted perimeter of an electric transformer. Two will die, burned alive, Bouna and Zyed. If you are still crying...

L`histoire d`une jeune fille de Metz.

Jean-Marie Straub naît le 8 janvier 1933 à Metz, où il dirigera un ciné-club de 200 à 700 membres de 1950-51 à 1954-55. A partir de la fin 1940, il est forcé comme tous les Lorrains, de ne plus parler et de n`écrire qu`en allemand. En 1951-52 il est étudiant à l`université de Strasbourg et en 1952-53 et 53-54 à l`université de Nancy. Avec le projet de tourner un film biographique de long-métrage (Chronik der Anna Magdalena Bach), il part en novembre 1954 pour Paris où il rencontre Danièle Huillet. Il écrit quelques articles pour Radio-Cinéma-Télévision, assiste et voit un peu le tournage de La Tour de Nesle de Gance, French Cancan et Eléna et les hommes de Renoir, Le coup du berger de Rivette, Un condamné à mort s`est échappé de Bresson et Une vie d`Astruc. En juin 1958 il quitte la France pour Amsterdam, et finalement pour l`Allemagne, où il entame la même année un voyage de deux ans sur les traces de Jean Sébastien Bach. Il est condamné par contumace à un an de prison par le tribunal militaire de Metz pour s`être refusé d`accomplir son service en Algérie. L`amnistie prescrivant l`extinction des répressions pénales qu`il encourts interviendra en 1971. Jusqu`à la fin de l`année 1969 il habite à Munich. Depuis il vit dans un des faubourgs de Rome. Danièle Huillet est née à Paris le 1 mai 1936. Elle grandit à la campagne, à La Queue-les-Yvelines. Vers 1948 elle retourne à Paris, poursuivre ses études au Lycée Jules Ferry. Elle se prépare pour l`IDHEC, mais refuse lors du concours d`entrée d`analyser le film Manèges de Yves Allégret, qu`elle qualifie comme indigne d`un examen.

Il y a très peu de personnes pour se représenter la réalité de ce qui n'apparaît dans le langage courant que sous la forme de clichés. Il en va pour eux comme pour ce réserviste autrichien à propos duquel une anecdote du début de la guerre raconte ceci: Passé rapidement et dans l'enthousiasme du bureau au service militaire actif, il se retrouve avec son détachement près d'une forêt d'où des Russes nichés dans les arbres faisaient feu. Indigné, il les enguirlande: "He bien, qu'est-ce que c'est que ça? Qu'est-ce qui vous prend de tirer? Vous ne voyez pas qu'il y a des gens qui passent? Il pourrait arriver le pire ". Il s'était imaginé que la guerre se déroulait comme un sur un terrain d'exercice! Il était enthousiaste parce qu'il n'avait aucune idée de la réalité! Combien de choses néfastes seraient évitées dans la vie, en politique, dans l'art, dans toutes les affaires privées, si chacun pouvait se représenter leurs effets, si le politicien par exemple pouvait se représenter ceux qu'il recommande de tuer, si le chef mesurait l'effet d'un licenciement, l'employé les conséquences d'une négligence. http://www.viennale.at/de/archiv/frame_title.html

Jean-Marie Straub (né en 1933 à Metz) grandit avec la langue française mais est obligé d'apprendre l'allemand sous l'occupation nazie. Il étudie la littérature à Strasbourg et à Nancy, va en 1954 à Paris où il travaille comme assistant pour Jean Renoir, Abel Gance, Alexandre Astruc et Robert Bresson; Il y rencontre celle qui deviendra plus tard sa femme, Danièle Huillet (née en 1936 à Paris). Tous leurs films sont des réalisations communes. Pour échapper à l'incorporation de Straub, c'est-à-dire à une participation à la guerre d'Algérie, le couple part en Allemagne en 1958. C'est là que commence leur travail cinématographique propre, avec les adaptations d'Heinrich Böll Machorka-Muff (1962)et Nicht versöhnt (1965),qui se heurtent, à l'exception d'un petit nombre d'avis favorables comme celui de Jean-Luc Godard, à un rejet massif. Leur manière radicale de procéder est critiquée et qualifiée de "dilettante". Ce n'est qu'avec le film suivant, Chronik der Anna Magdalena Bach (1967)la biographie non conventionnelle d'une musicienne, que l'on commence à considérer sérieusement les créations strictement politiques et matérialistes de Straub/Huillet. Durant les 35 années suivantes, ils partagent leur temps entre l'Italie, la France et l'Allemagne. Ils travaillent de façon conséquente sur de la matière littéraire et musicale: un drame de Corneille peu connu (Othon); une lettre et deux opéras d'Arnold Schönberg (introduction à la musique d'accompagnement pour une scène de film, Moïse et Aron et Du jour au lendemain); des oeuves de Brecht(Geschichtsunterricht, en fr: cours d'histoire), Kafka (Klassenverhältnisse, en fr: rapports de classe)et Hölderlin (la mort d'Empédocle); des textes de Marguerite Duras (En rachâchant) et Elio Vittorini (Sicilia!) ? mais aussi de Gasquet, biographe de Cézanne, comme dans leur dernière oeuvre Une visite au Louvre. La première de ce film en Autriche (1er Octobre) constitue un prélude à la rétrospective. http://www.filmmuseum.at

In this film a man meets a woman in order to have a dinner together. Odd atmosphere surrounds the situation. -A woman enters mans appartement, man takes her coat and they sit beside dinner table, tentative atmosphere is present till the end, where woman reveals her true face.-

I am a video and media artist who has concentrated on making moving image. Which means exploring many diverse possibilities of the medium. I am currently studying in The University of art and design in Helsinki for my master?s degree. I have made several short video works during years 2003-2007 and a couple of film works from which The Dinner (2007) is my latest. As a part of my profession I am also interested in the theory and structure of moving image not only as a filmic and static way of making things and ideas visible but also as a inner hidden process? that we read and interpret things.

In the heart of the Amazon River, four years to the day after a devastating fire consumed the National Museum of Brazil, a diverse and passionate group of individuals gathers to rewrite history in a captivating journey of rebirth. "Apagada" is a 20-minute film by Unfold and Alexandre Humbert for Atlas of Lost Finds, an international research project sparked by the fire that turned 18 million of the museum's artefacts into ashes on September 2, 2018. Among the few remnants of this renowned collection are several digital 3D scans, which we can consider the digital 'spirit' of these lost treasures. A multidisciplinary team of Brazilian, Indigenous and international makers and researchers worked together to breathe new life into these spirits, focusing on the lost artefacts of pre-Columbian ceramics from Brazil's Marajo region. The team masterfully combines ceramic 3D printing with ancestral craftsmanship knowledge to recreate these artefacts on the very island where they originated from over five hundred years ago. "Apagada" explores the profound impact of revitalizing erased heritage. It raises essential questions about the role of digitisation in preserving heritage and the significance of this endeavour for local communities, which have lost their history due to fire, or colonial past. The film celebrates creativity, collaboration, and the powerful potential of rediscovery, questioning, and cherishing our shared heritage.

Alexandre Humbert (1989, FR) is a conceptual designer and filmmaker who writes, directs and constructs Cinematographic Objects. He graduated with honors from ESAD Reims (FR) in 2011 and from the Contextual Design Master department of Design Academy Eindhoven (NL) in 2013. He has since collaborated with a large number of designers, artists, architects and cultural institutions to poetically stage objects, gestures and contexts through installations, fictions, documentaries and experimental films. From 2014 to 2016, he trained in various production techniques and developed his critical sense of the image through the production of several short formats. His unique approach received recognition in 2017 with the launch of the film series Object Interview, 19 episodes involving 103 contributors in Europe in which 31 objects discuss seemingly innocuous topics: fishing, psychoanalysis, marriage, insomnia... By giving these objects a voice, his films emphasize the emotional, verbal and non-verbal interaction that exists with all the objects that surround us, whatever their form. He was then invited to explore the narrative potential of objects in a variety of contexts, including Design Museum Gent (BE), Musée d'Art Moderne du Luxembourg (LU) in 2018, Jerusalem Design Week (IL), Schloss Hollenegg for Design (AU) and Guangzhou Museum of Art (CHN) in 2019. In the same year, he co-curated the exhibition "The Object is Absent" at MU Art Space, which was nominated for the Dutch Design Award 2020 and he also directed the fiction film Sleeping Beauties, shot at Burj al Babas in Turkey, in which he links architecture to its pictorial representation in a context where screens continue to multiply. In 2020, after completing his film Les Impatients, shot during the first lockdown, he was offered a a one-year residency at the Musée des Arts Décoratifs in Paris (FR) to follow the life of the museum through its collections and exhibitions, extracting contextual poetic narratives. The designer-cinematographer directed The object becomes in 2021, following the attitudes, words and gestures of nine protagonists of circular design, resource regeneration in Belgium. The film premiered at Palazzo Anteo Cinema during Salone Del Mobile. Awarded with the Mondes Nouveaux Grant from the French Ministry of Culture in 2022, he completed the production of his first experimental feature-length documentary, D'un moment à l'autre, which follows the production process of 35 artists across France and premiered in 2024. His latest film, Apagada, shot in the Brazilian Amazon and co-directed with Belgian design studio Unfold, has just received the Henry van de Velde Award in Belgium and an honourable mention at MDFF 24. His work has been exhibited and screened internationally and is part of the collections of Design Museum Gent (BE), Musée des Arts Décoratifs de Paris (FR) and MUDAM Luxembourg (LU). Alongside his practice, he teaches film construction at ENSCI Les Ateliers (FR) and the Design Academy Eindhoven (NL), and lectures on the subject at numerous other schools.

Navigating Images is an interactive project. It simulates dropping objects that fall on a moving body. The dropping object is represented by dots. There are three shapes for the dots : the rectangle with round corners, circle and triangle. The object dropping can be further subdivided into two modes : a ?real mode? and a ?grid mode?. The real mode simulates natural falling, without taking acceleration into account. The grid mode simulates a digital effect in which each dot falls in a predefined grid position. The movement of the body is detected by the difference between colour in the background image and the colour in the current image that is captured from a web cam or camera. The detection of the objects is affected by the colour system, such as hue, saturation and brightness of the image. Once an object (human body) is detected, a colour - fading effect can be applied to the detected object. The program also supports sound in real mode. When a loud sound is detected, the radius of the dots will be larger. Based on the above different functions, we have created a control panel for different and multiple combinations of situations. For this installation, we need a camera, a PC and a video projector. Real-time moving images of the audience will be captured by the camera. The date of the motion will be directly transferred to the PC and the specific images will be generated by computer programming that is composed of the computer language C++.

Since 1998, Hung Keung has been interested in the area of entertainment/narration in interactive space, a subject that is related to her on-going research activities in School of Design, Hong Kong Polytechnic University. Her new media research project CDROM and interactive projects ?human beings and moving images? (1998-2001), which mainly focused on discovering the limitations of human beings such as in seeing, walking, talking, listening, kissing, releasing energy, laughing, eating, growing, and so forth. She is also been trying to provide another new/alternative meaning and experience to the audience through interactivities and moving images. In this CDROM project, Hung Keung studies the possibilities of the new meanings/definitions between the relationship of human beings and digital movements in an interactive activities/environment. "Talking, Walking, Seeing" is part of her research in the theory of exploring how are the possibilities between human beings and moving images. Is there any new experience for use to understand any layers behind the original ?meaning?. What is our original meaning of "Talking", "Walking" and "Seeing" ? Will there be any new experience to interpret it in a way of using the multimedia and interactive concept?

Space Liquid (2004-present) Introduction: Space Liquid, my recent research project, in which try to create a digital interface as a platform to represent captured real-time moving images, is designed like the shape of a curtain. This project mimics a visual effect of something behind a curtain that is touching the curtain and creating a bumping effect on the curtain. This effect is similar to that in horror films showing the face of a ghost on a curtain. The program uses a video input device, such as a web cam and digital camera, to capture a realtime image sequence, calculating the contour of the moving objects in the image and displaying the bumping effect on a virtual curtain in the 3D environment. The 3D space/environment can be positioned by panning, zooming, and rotating. In addition to the interactive playing ability.

Media Artist, Scholar, Kidut 35 from Hong Kong > 1970 born in Kunming, China > since 1973 living in Hong Kong > since 1982, living with my mun and sister > 1992 graduated from the School of Design, Hong Kong Polytechnic University, HK > my another 3 years BA (Hons.) from the Department of Fine Arts, Chinese University of Hong Kong, HK > 1994 Winner of the "Most Promising Artist Awards" in Hong Kong > 1997 Master of Art (Film & Video) Central Saint Martin`s College of Art and Design in London, UK > working as a TV Producer & Design Consultant in London > since 1998 lecturer at the School of Design, Hong Kong Polytechnic University, HK > 1998 with video work (16mm) "I love my country`s sky", he got the prestigious BBC British Short Film Festival 98 "Best Short Ambient Video Award" , UK and the "Best of EMAF" in the European Media Art Festival, Germany "Gold Award", "Special Award (Video)" and "Distinguished Awards" in Hong Kong Independent Short Film & Video Awards (1997 & 1998) > 2001 with his greatly `painful` CDROM Project , he won the " Winner of the Prize of Excellence " at the Hong Kong Art Biennial 2001, the " Second Prize " of the Computer Graphics International 2001 in HK, the " Special Mention Interactive CDROM Award " in E-PHOS - The 3rd International of Film & New Media on Art in Greece, and, received the Honorable Mention (new media) from the 7th International Festival of New Film in Croatia. :-P > 2002 to my surprised, received the honorable award "President`s Awards for Outstanding Performance/Achievement", the Hong Kong Polytechnic University, HK > video works - have been widely exhibited internationally such as London, Norway, Italy, Croatia, Hungry, Spain, Amsterdam, Hannover, Dresden, Greece, Australia, Tokyo, Taiwan, Singapore, Thailand, India, South Korea, Canada, Chicago and New York, etc. > Visiting Scholar ( ZKM ) Zentrum FY?Nr Kunst und Medientechnlology ( Center for Art & Mediatechnology ), in Karlsruhe, Germany (2001 - 2002), DAAD Scholarship DEUTSCHER AKADEMISCHER AUSTAUSCHDIENSTZKM (2001) > Visiting Lecturer Department of Interactive Media in Designskolen Kolding, Denmark (2002) > 2004 Latest digital video work for MSF-HK10th anniversary exhibition , Screening and Exhibition. Invitation by Medecins Sans Frontieres ( MSF ) / Doctors Without Boarders, HK In 2005, he found "innov+media lab", mainly focus on integrated design, research, software development and application. In 2006, with his ACC Fellowship, he will have his residency at the Center for New Media in UC Berkley & NY, etc. > Currently, HUNG K is a PhD student at Z-note of The Planetary Collegium (CAiiA-STAR), at HGKZ, University of Applied Sciences and Art School of Art and Design, Institute Cultural Studies in Art, Media and Design in Switzerland & School of Computing, Communications and Electronics, University of Plymouth, UK. active in Green Tea and Hiking activities : ) > Specialism & Interest New Media Research and Reading.............!!!!

The project ?Time Liquid? consists of 3D software equipped with the latest Microsoft DirectX technology which was developed by HUNG Keung with his Innov+media Lab in 2004 to the present. Users (members of the audience and players) interact with the software by controlling a joystick. While the users are playing with the joystick, a video signal can be acquired through a broad range of input sources, including web-cams and movie files. A series of ?sliced images? chopped from the video input are controlled by a joystick. The controls of the digital moving images include different functions such as spin rotation, global rotation, forward marching and so forth. The joystick is created not only to control moving images, but also to control the 3D view-port. The operation of this joystick includes panning, zooming, and rotating. In addition to interactive playing ability, the software can store the contents of the screen into a movie file for later investigation. To date, three different versions of Time Liquid have been developed : a one-player version, two-players version, and four-players version.

Since 1998, Hung Keung has been interested in the area of entertainment/narration in interactive space, a subject that is related to her on-going research activities in School of Design, Hong Kong Polytechnic University. Her new media research project CDROM and interactive projects ?human beings and moving images? (1998-2001), which mainly focused on discovering the limitations of human beings such as in seeing, walking, talking, listening, kissing, releasing energy, laughing, eating, growing, and so forth. She is also been trying to provide another new/alternative meaning and experience to the audience through interactivities and moving images. In this CDROM project, Hung Keung studies the possibilities of the new meanings/definitions between the relationship of human beings and digital movements in an interactive activities/environment. "Talking, Walking, Seeing" is part of her research in the theory of exploring how are the possibilities between human beings and moving images. Is there any new experience for use to understand any layers behind the original ?meaning?. What is our original meaning of "Talking", "Walking" and "Seeing" ? Will there be any new experience to interpret it in a way of using the multimedia and interactive concept?

?Closing your eyes? is a documentary about three dying Palestinian cities and three kinds of confinement and suffocation: the revolt at Nablus, the resignation at Hebron, and the disappearance at Qalqilyah. ?Closing your eyes? brings together the people of these three cities that live an endless sadness and who seem lost in an imposed isolation. They no longer want to hear anything; they want to become completely numb. They do not want to feel pain, fear, or violence. They do not want to hear any more shooting or incessant cries. ?Closing your eyes? shows us how to see and hear the streets of these three cities, somewhere between light and darkness, inside and outside, visible and invisible, life and death. ?Closing your eyes? shows a silent suffering of people right in front of us, behind the walls; endless suffering for men and women who have no rights as if there was no more population, no more human beings, but a plague that must be controlled at any price.

After studying History and Art History in Strasbourg, Robin Hunzinger began studying film at the University of Paris VII with Jean Douchet, Jean Rouch, and Bernard Cuau. When the Bosnian war started, Hunzinger was encouraged to go to Sarajevo, which he did in February 1993. He did not bring back a single image of the ravaged city but he did return with a profound desire to learn documentary production. In 1996, Hunzinger wrote his thesis in Sarajevo on the narrative discourse of televised news during the war in Bosnia. It was then that he met producer Bruno Florentin, with whom he wrote a script on the city of Gorazde. Hunzinger?s first film was ?Gorazde, Psychogeography of a Border,? which was supported by UNESCO and the Soros Documentary Fund (NY Institute). He touched upon themes that we have found in all of his succeeding films: war, borders, memory, nature, man faced with the unthinkable. Aside from working on documentaries, Hunzinger also works on radio documentaries for radio stations France Culture and Arte-radio.com. Further, he is Publication Director of "La Revue des Ressources", a magazine about exchange between the word of text and image.

‘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.

"Die for a Moment" plunges the protagonist into an intense reflection on his previous way of life. Before arriving on the island, he was trapped in a monotonous and superficial routine, consumed by the demands of a society that valued material success over authenticity and human connection. However, as he enters the isolated, stark beauty of the wintry island, he is confronted with the nakedness of his own existence and the false pretensions that once guided him. "Die for a Moment" is a film born from the chance encounter between Abraham Hurtado and Manos Kotsaris in Berlin. Driven by a joint artistic quest, they decide to venture to a winter island, with only each other's company and the determination to create a film with no other resources than their determination and challenges of doing this film.

Abraham Hurtado is an artist with practices based on constant experimentation and very diverse expressions. His work is traversed by a line of research "body in crisis." Digging in human behavior as a response to a society's condition for its means of production and the commodification of all ways of thinking and being, has become a need. Hurtado understands the body as the container of the emotions, both personal and social; Generating patterns of “antisocial behavior”, states that Abraham explores as a paths to find other ways to operate, to adapt and survive the contemporary society His practices focus on discomfort as is constantly mirroring us, addressing, through the individual experience, problems which are political and symptomatic. If the personal is political, the political invades the core of every individual. www.abrahamhurtado.com Founder and Artistic Director of AADK Spain, in Murcia Region since 2012, based in Centro Negra, (Blanca), Space for research and experimentation. The platform offers space to work to more than 500 artists from different backgrounds and disciplines from all over the world. www.aadk.es . Hurtado has curated several exhibitions and festivals between 2010 and 2022 in cities such Berlin, Lisbon, Murcia, Barcelona, Tel Aviv, Seville, Gent, Stockholm… among others.

Eclectic scenery/ here in Karawaci / green trees sway in the breeze / around Taman Paris / A place for families! / Spend some eventless days / in old Taman Ingles / or hear the Muezzin call / in Taman Espanol // Oh, how I long to be / back in Karawaci ! (Compositing panoramic views of a highly stylized residential area near Jakarta with iconic scenes of a globalized lifestyle.)

Oliver Husain studied fine arts at Baroda University, India, from 1990 to 1991, and film from 1992-1995 at HfG Offenbach, Germany, completing his studies with media art in 1998. Since then he has realized many short films and videos, which have been screened internationally at festivals and exhibitions and won several awards, including Best German Short Film in 2003. With Michel Klöfkorn, he founded Husain Klöfkorn Musikvideos in 1996, producing Clips for German and international artists, and held workshops in Jakarta, Bangkok and Almaty. With Claus Richter and Sergej Jensen, he formed "Da Group" in 1997. "Da Group" continues to stage shows, installations, music and performance; they had a monthly radio show up until 2004.

A man, a woman in a winter landscape. Both are lonely, in a wide outside, one of them run between two trees, the other run in circle. There is no explanation for their gestures, but in it, in their presence and their fatigue, there is something simple, something true, that is touching.

Hanna Husberg is born in 1981 in Kangasala, in Finland. She made studies in Applied Arts and Fine Arts in Milano and Paris (ESAA Duperré and ENSBA). She realizes installations and videos and took part to group exhibitions in France and Asia. Her work explores the relation between individuals ans the surrounding.

Market shoppers use all of their senses when trying to ascertain whether the groceries are local or imported. The privileging of local produce over imported goods is ever present, regardless of whether or not the groceries are actually better. This follows two lines of argument - that by buying Croatian-produced goods they are supporting Croatian agriculture, and that domestic products are more familiar and tastier, although it is not the origin of the goods but the method of their production that counts. They choose to buy local goods simply because they are "ours, Croatian, local", and not some foreign, unfamiliar, and alien foodstuff which is therefore deemed of lesser quality. For the preserves traditionally prepared to last throughout the winter, only local produce is considered worthy. It has to be treated and conserved for it to be safe, and caught at its peak moment of maturity. This process demands that all foreign bodies be destroyed and that only the best pieces be used, those without any fault. All this then needs to be cleaned for the preserves to be safe from all decay.

Ana Husman was born in Zagreb in 1977. She studied multimedia and art education, graduating in 2002 from the Academy of Fine Arts, in Zagreb, Croatia. She has attended a large number of Croatian and International festivals and shows. (Insert - retrospective exhibition of artists? film and video from 1960 to the present Museum of Contemporary Art ? Zagreb; XXII Biennial of Young Artists ? Naples; International Biennial of young artists ? Vr?ac; Share ? Ljubljana; The Independents, g39 ? Cardiff; Staying or leaving Art Pavillion - Zagreb / Kunsthaus, Graz; Instants Video, Marseille 2003; 23rd Kassel Documentary Film & Video Festival; 49th International Leipzig Festival for Documentary and Animated Film ? DOK Leipzig.) Her latest two films are published under EGOBOO.bits label, Creative Commons Attribution-ShareAlike 2.0 licence. Some of her work has been awarded.

Through the voice of Little Jela, the film tells the story of the events that marked a generation and shaped the future of the landscape of Lika, a neglected and sparsely populated region of Croatia. The living conditions impacted on the personal lives of the people who lived there, their solitude, relationships, opportunities, apprehensions and hopes. Little Jela embodies several members of my own family which is predominantly composed of women – mothers, grandmothers, sisters and aunts.

Ana Husman’s practice disassembles the structures and textures of cinematic elements through film, installation, books, sound, image and text. Husman experiments with the possibilities of animation, documentary and fictional cinematic methods, and the possibilities of recorded voice and its articulation. Her working process questions and plays with the positions of the amateur and the professional subject of performativity, the medium itself, and the structures that dictate and produce patterns of behaviour. She teaches at the Department of Animation and New Media at the Academy of Fine Arts in Zagreb, and is a co-founder of the documentary film organisation RESTART where she has been holding film education programs for children and young people for many years. Since 2003, she is a member of Pangolin, an artist-run organisation working in film, visual arts and research practices, where she produces films, books and other works. Her works have been shown at film festivals and exhibitions worldwide.

A living room. A place where the private space of a flat is on public display. Using memory, supposition and measurable architectural elements, the space of the living room is continuously constructed and reconstructed, and the action grows into an interpretation of past, present and possible events and relationships.

Ana Husman’s practice disassembles the structures and textures of cinematic elements through film, installation, books, sound, image and text. Husman experiments with the possibilities of animation, documentary and fictional cinematic methods, and the possibilities of the recorded voice and its articulation. Her working process questions and plays with the positions of the amateur and the professional subject of performativity, the medium itself, and the structures that dictate and produce patterns of behavior. She is a lecturer at the Department of Animation and New Media at the Academy of Fine Art in Zagreb and co-founder of the documentary film organization RESTART where she has been holding film education programs for children and young people for many years. Her works have been shown at festivals and exhibitions including: Gwangju Biennale, October Salon Belgrade, Medienturm Gallery Graz, Ludwig Museum of Contemporary Arts Budapest, International Film Festival Rotterdam, DOK Leipzig.

As Jean-Luc Nancy says, our pleasure in views, scents, and sounds has been a political issue since the birth of Europe. The idea of landscape has nothing in common with the idea of unspoiled nature. Landscapes are formed through planned deforestation, afforestation, and controlled planting. These processes are influenced by economic, health care, and other policies, documented in the systematic and taxonomic terminology of the land registry. By mapping the island flora and recording the resistance of the vegetation to the wind, as well as the resulting sounds of friction, I document the sound signals that reflect the changes, fashions and economic conditions of a particular location. These cultivation policies return to our houses and apartments like the wind, creating a complex feedback loop between the interior and exterior spaces.

Ana Husman (1977) studied multimedia and art education department graduating in 2002 from the Academy of Fine Arts Zagreb where she now works at the Department for animated film and new media. She exhibits regularly at solo and group exhibitions, and her films have been screened at many international film festivals and received a number of awards.