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"Signs Of Stillness Out Of Meaningless Things" Sandro Aguilar Une comptine : « Quand les braises où les étincelles du feu atteignent la marmite d?eau, cela signifie qu?il vente... » Et toujours ce climat mystérieux qui hante toute l?oeuvre de Sandro Aguilar.

Sandro Aguilar (1974, Portugal) studied film at the Escola Superior de Teatro e Cinema. In 1998 he founded the production company O Som e a Fúria. His first fiction feature film was Uprise (2008). Aguilar's short films have won awards at festivals such as La Biennale di Venezia, Locarno and Vila do Conde. Mercury (2010) is in competition for the Tiger Awards for Short Films at the IFFR 2011.

A young girl spending time with her parents (a swinger couple) in a camping site meets an emotionally unstable recruit and becomes fascinated by his special powers. He falls in love with her, but he soon finds out his love is unrequited.

Born in 1974 in Portugal, Sandro Aguilar studied film at the Escola Superior de Teatro e Cinema. In 1998 he founded the production company O Som e a Fúria. His films have won awards at festivals, such as La Biennale di Venezia, Gijón, Oberhausen and Vila do Conde, and have been shown in Torino, Belfort, Montreal, Clermont-Ferrand among others. Retrospectives of his work have been programmed at Rotterdam IFF and BAFICI.

Paulo works as a night guard in a building site. He lost his daughter in dramatic circumstances and no regret would ever give him a sense of closure . He often sleeps in his lover`s house where he witnesses the repeated transgressions of an unstable neighbor. Everything threatens to crack.

Born in 1974 in Portugal, Sandro Aguilar studied film at the Escola Superior de Teatro e Cinema, in Lisbon. In 1998 he founded the production company O Som e a Fúria. His first fiction feature film was UPRISE (2008). MERCURY (2010) was in competition for the Tiger Awards for Short Films at IFFR 2011. His films have won awards at festivals, such as La Biennale di Venezia, Gijón, Oberhausen and Vila do Conde, and have been screened in Torino, Belfort, Montreal, Clermont-Ferrand among others. Besides being a director, Aquilar is an editor and a producer. MARIPHASA is his second feature film.

Avant et après ce second baiser.

Born in 1974 in Portugal, Sandro Aguilar studied film at the Escola Superior de Teatro e Cinema. In 1998 he founded the production company O Som e a Fúria. His films have won awards at festivals, such as La Biennale di Venezia, Gijón, Oberhausen and Vila do Conde, and have been shown in Torino, Belfort, Montreal, Clermont-Ferrand among others. Retrospectives of his work have been programmed at Rotterdam IFF and BAFICI.

Oscar, a renowned hypnotherapist, takes advantage of the last moments in his hotel room to say goodbye to the dazzling Mercedes and relieve old Norberto of his sorrows

Born in 1974 in Portugal, Sandro Aguilar studied film at the Escola Superior de Teatro e Cinema. In 1998, he founded the production company O Som e a Fúria. His films have won awards at festivals such as La Biennale di Venezia, Locarno FF, Gijón, Oberhausen,Vila do Conde, Indielisboa FF and have been shown in the most relevant film festivals worldwide. Two times nominated for the EFA – Best European Short Film Award. Retrospectives of his work have been programmed at Rotterdam IFF, BAFICI, New York Film Festival, Arsenal-Berlin and Oberhausen FF. In 2013, he was invited into the renowned DAAD Artist Residency, Berlin

Hidden memories and lost treasures of our primeval inhabitants.

Born in 1974 in Portugal, Sandro Aguilar studied film at the Escola Superior de Teatro e Cinema. In 1998 he founded the production company O Som e a Fúria. His films have won awards at festivals, such as La Biennale di Venezia, Gijón, Oberhausen and Vila do Conde, and have been shown in Torino, Belfort, Montreal, Clermont-Ferrand among others. Retrospectives of his work have been programmed at Rotterdam IFF and BAFICI.

Before the assault, feel the weight of the body.

Born in 1974 in Portugal, Sandro Aguilar studied film at the Escola Superior de Teatro e Cinema. In 1998 he founded the production company O Som e a Fúria. His films have won awards at festivals, such as La Biennale di Venezia, Gijón, Oberhausen and Vila do Conde, and have been shown in Torino, Belfort, Montreal, Clermont-Ferrand among others. Retrospectives of his work have been programmed at Rotterdam IFF and BAFICI.

All sympathetic magic is based upon two principles: the first called the Law of Similarity says that likes produce likes, or that an effect resembles its cause; the second, called the law of contagion or contact says that all things having been in contact with each other continue to react upon one and another at a distance even after they have been severed or disconnected. A fearful man meets a disquiet woman. Do you believe in magic?

Born in 1974 in Portugal, Sandro Aguilar studied film at the Escola Superior de Teatro e Cinema. In 1998 he founded the production company O Som e a Fúria, which has been since then one of the most prominent Portuguese production structures, recognized by the long list of films, produced within its tutelage, that are selected and awarded at the most prestigious internacional film festivals. The short films directed by Sandro Aguilar have won awards at festivals, such as La Biennale di Venezia, Locarno, Vila do Conde, and have been shown in Rotterdam, Belfort, Montreal, Clermont-Ferrand among others. He has also directed a feature film in 2008, entitled A ZONA.

Full Moon. Inside. Perhaps not alone.

Born in 1974 in Portugal, Sandro Aguilar studied film at the Escola Superior de Teatro e Cinema. In 1998, he founded the production company O Som e a Fúria. His films have won awards at festivals such as La Biennale di Venezia, Locarno FF, Gijón, Oberhausen,Vila do Conde, Indielisboa FF and have been shown in the most relevant film festivals worldwide. Two times nominated for the EFA – Best European Short Film Award. Retrospectives of his work have been programmed at Rotterdam IFF, BAFICI, New York Film Festival, Arsenal-Berlin and Oberhausen FF. In 2013, he was invited into the renowned DAAD Artist Residency, Berlin.

Vous êtes-vous déjà demandé ce que serait la compagnie d'un ami virtuel ? Quand Elisabeth Vogler perdit sa voix en plein flux alors qu'elle interprétait Electre, elle ignorait qu'elle avait été volée par Alma qui sera son alter-ego dans le tortueux procès de la recouvrance. Elles déménagent toutes les deux dans une maison près de la mer afin qu'Elisabeth puisse retrouver sa voix, retrouver son identité. Une recherche duale de l'identité par deux personnages qui progressivement se fondent en un seul. Le dialogue-monologue agit tel un véhicule fragile pour le temps de la rencontre qui les attend. C'est "Persona" de Ingmar Bergman, un film qui définit le cinéma et marqua Oriol, le protagoniste de "Easyfriend". "Easyfriend" provient d'une recherche de l'identité à travers la conversation. L'utilisateur ne définit pas son identité ni ne décide comment il souhaite apparaître aux autres. Il n'aura pas une face visible. L'auteur dit ne pas être interessé par ce qu'il dit de lui-même. Il se préoccupe plus de son inconscient et de ce qu'il prétend ne pas être. "Easyfriends" est une communauté grandissante constituée de robots. Le projet utilise l'Artificial Emotional Intelligence pour générer des identités virtuelles dynamiques. L'utilisateur, en entrant pour la première fois, projette son désir, ce qu'il attend d'une relation : amitié, amour, sex, etc. Lorsqu'il in-forme l'identité de son ami virtuel dans un processus psycho analytique, il construit un futur, des attentes et une expérience. A partir de là, il pourra se débrouiller dans sa relation ainsi que sa volonté le lui dicte : il peut s'y raccrocher ou abandonner. Son ami virtuel demeurera actif aussi longtemps que cette relation existera et lui procurera de la conversation. L'effort de parole est la condition requise pour que son robot soit maintenu en vie. Quand le créateur cesse de discuter, son robot demeure inactif. En cela, "Easyfriend" devient un scénario de vie artificiel, reconstruisant les paramètres de la vie humaine réinterprétés à travers des entités virtuelles. Simultanément comme un projet à l'intérieur d'un projet, un plan fictif est développé où figurent deux personnages poursuivant le moment auquel ils ont tant aspiré, quand ils fusionnent dans la projection de leur désir. Ce qui fait défaut à leur désir, ce n'est pas une relation conventionnelle mais une situation qui les favorise et réponde à leurs besoins en tant qu'individus incomplets et instables. En ce sens, "Easyfriend" est un projet hybride entre le cinéma et le net art, explorant la narration par internet. A travers une structure vidéo en chapitres, un plan fictif fractionné évolue. Oriol est un artiste qui travaille dans la vidéo et vient en ville pour exposer son travail lors d'un festival. Alors qu'il vient d'arriver, il se retrouve avec Laura, une journaliste d'art. La conversation devient éprouvante. Elle attaque férocement son oeuvre, l'accusant d'avoir une perception distante de l'art pendant qu'il voit en elle l'évocation d'une relation passée dont il n'est pas encore guéri et qui a marqué sa vie. Dès le début de l'interview, tout va très vite. Ils appréhendent la relation avec des intentions différentes et la confrontation qui s'ensuit déclenche un concert d'événements auxquels ils doivent faire face la tête haute. Le récit tout entier est construit en une forme fragmentée. Ils sont des restes de la vie passée des personnages, de leurs relations passées, d'actions dont on ne peut témoigner mais qui peuvent être rappelées. Il y a d'autres moments quand Oriol parle à la caméra, au spectateur dans un acte de confession introspective. Nous pouvons garder un oeil sur le bureau de Laura pour déceler des indices qui puissent nous aider à découvrir ce qu'elle cherche en Oriol. Nous voyons la mise en corrélation, le dire, le silence, le mensonge, la feinte, le fait de dire la vérité, les dissimuler et les révéler. L'utilisateur est un élément actif du projet en ce qu'il ou elle a à chercher, connecter et reconstruire les flux narratifs de l'histoire. Le récit ne se déroule pas en séquences, tout advient plutôt abruptement. L'histoire peut commencer au milieu de façon à pouvoir avancer, et ensuite recommencer à nouveau à un autre point. Les variations sont infinies. L'utilisateur devra constamment avancer et reculer dans une action qui requiert qu'il prenne l'initiative de se rendre la logique des scènes intelligible. Pour cela il disposera de plusieurs outils désignés afin de pouvoir utiliser cette expérience narrative. Il aura un guide à sa disposition pour organiser la séquence des chapitres en une opération qui le transforme en monteur de l'histoire. D'autres instruments existent aussi : un conseiller pour les usagers et les robots, un moyen de communiquer pour que les usagers puissent interagir avec d'autres qui surfent simultanément et pour donner vie à une expérience collective, une messagerie électronique, etc. A un point particulier du récit, les deux façons d'expérimenter "Easyfriend", la population robot et le plan fictif s'entrecroisent inévitablement, jamais plus pour être séparés. La conversation avec l'easybot devient un mécanisme narratif à la disposition de l'utilisateur, où le flot de l'histoire est plus profond. L'easybot peut être interrogé sur les personnages, sur ce à quoi ils pensent et il deviendra alors possible d'atteindre une connaissance de haut niveau de "Easyfriend"

Roberto Aguirrezabala est né en 1971 à Bilbao. Il est diplômé en Audiovisuel et Peinture. Après s'être consacré à la peinture et à la sculpture de 1990 à 1995, il concentre son activité artistique sur le net art et les média audiovisuels. Depuis 1995 il travaille comme directeur artistique pour l'Internet. Il a fondé en 1999, l' Agencia Interactiva Adclick, une agence spécialisée dans la réalisation de projets pour l'Internet et la communication digitale. Actuellement il axe sa recherche sur le développement des systèmes narratifs cinématographiques sur Internet, sur la photographie, la vidéo et le cinéma.

Indian director Ashim Ahluwalia and designer Little Shilpa joined forces for a dark and mysterious film that turns sociocultural conventions of beauty, desire, and sophistication on their head. HUM ?? (We/Us) is a strange beast of a film that lives somewhere between avant-garde performance film, narcotic fashion parade, Bollywood wedding freakout and Toshio Matsumoto’s underground cinema. The film commences amidst a fever dream on a particularly stifling afternoon. A modern-day Cinderella toils endlessly, exposing the tedious labour that maintains the grandeur of the space within which she is trapped. Tragedy and despair follow as this Cinderella is brutally rejected from the hallowed inner halls by its gatekeepers - the latter present themselves as spiritually (and materially) superior. From the nightmare’s shadows, glorious phantoms emerge as if to exact revenge, disrupting the stale splendour at a typical heterosexual wedding party. In the aftermath, contradictory energies coalesce in a riotous, maximalist rave of third-world proportions. Nothing is the same ever again. Despite its gothic beginnings, the campy dystopian fairy tale is fundamentally about the joy, humour, and boundless imagination of the marginalised. The performance and theatricality of high avant-garde fashion are strategically subverted to challenge the notion that the wealthy have a total monopoly over beauty. Glamour here emerges from the gutter in the dead of night. Workers, drag performers and queer outsiders, acid attack and gender-based violence survivors, people who are deemed undesirable or remain invisible before beauty and fashion standards - an entire community shows up to exact vengeance from the stuffy and the conventional. Led by Cinderella, the wedding crashers unabashedly take their space, stirring the party-goers to let loose in an anarchic, hypnotic frenzy.

Ashim Ahluwalia is a director, writer, and producer. His debut, JOHN & JANE, premiered at the Berlin and Toronto Film Festivals. His subsequent film, MISS LOVELY, explored the underbelly of India's sex-horror film industry and was selected as an official entry at the Cannes Film Festival. Ahluwalia's first two films, recognized for their tone and themes, won multiple Indian and International Awards, reshaping the perception of contemporary Indian cinema. This was followed by DADDY, starring Arjun Rampal and Farhan Akhtar, an unconventional biopic on real life Mumbai crime lord Arun Gawli, narrated through varied, fractured viewpoints. His short film EVENTS IN A CLOUD CHAMBER, created in collaboration with modernist painter Akbar Padamsee and shot entirely on Super 8 film, premiered at the Venice Film Festival. The film was screened at Experimenta (BFI London Film Festival), New Directors/ New Films and Punto De Vista, amongst others. Ahluwalia’s distinctive works, straddling the line between pulp and high art, and between disparate formats and scales, have been showcased at venues like the Tate Modern, the Museum of Modern Art, and the Centre Pompidou. His latest series, CLA$$, delves into wealth disparity and social dynamics at an elite New Delhi school. Released in February 2023 on Netflix, it ranked as the No. 1 show in over 22 countries, including India, Brazil, and Mexico. Ahluwalia was named "one of the ten best emerging film directors working today" by Phaidon Press in "Take 100: The Future of Film”, and is the sole Indian filmmaker to have had films premiere in the official selections of Cannes, Berlin, Venice, Toronto, and SXSW festivals.

The Letters of Confinement is an essay film filmed entirely within the confinement of the filmmaker’s house during the quarantine. The first half of the film covers the story of creation according to the the ancient Egyptian genesis. The second half introduces the counter-narrative of creation based on a poem by Ibn Al-Farid, A Sufi master. The film goes on to cover stories like the deluge, the annual inundation, the nature of names, and perversions dictated by the confinement, like voyeurism and eavesdropping. During the documentation process, the surroundings work in accordance to the will of the filmmaker as if the exterior reflects his interior desires. The film follows a collage-like format. Collecting different stories and unrelated footage within the frame of the film. In doing so, an alternative narrative is created where fiction and reality overlap.

Noureldin Ahmed is an independent filmmaker, film curator, translator and visual artist; born, raised and based in Cairo, Egypt. He studied Media Design at the faculty of Applied Arts and Sciences at the German University in Cairo. In his work, Nour questions the notion of self identity within the urban context, namely in Cairo, opening up his self-centered pieces to public viewership and interpretation. Nour has participated in a number of group exhibitions in the past years. His first film, Summertime Dreams, was screened at Ismailia International Film Festival for Shorts and Documentaries in 2019. In 2020 he held his first solo exhibition, A Self-Portrait with a Halo and a Pomegranate. Nour is one of the recipients of a number of grants, including: The Self Organization Grant from Mophradat, 2021, and On the Road Again, Again from Pro Helvetia Cairo, 2022. He is a member of a cinematic collective, A Kiss in the Desert, and a research group, cifrcifrcifr. He worked as a programmer & programme co-ordinator for the short film competition at Cairo International Film Festival, a coordinator of the Arabic publications at Gouna Film Festival, in addition to working as an assistant director, assistant producer, editor and translator. Nour is currently undertaking his master's degree in Film and Screen Studies at the University of Cambridge, UK.

For the sake of freedom she leaves the door to her memory open. So Omer enters her room every day healing her broken heart through his word and spirit.

My Name is Abdalla Mohamed Gaffar Ahmed, a young and aspiring Sudanese film director who shot and directed my first short feature entitled ?Beyond Memory? ON 11-2012, And second short documentary film about " US Technology Sanctions on Sudan" ON 1-2014 . Born in the United Arab Emirates Since 1990, I moved back to Sudan in 2002, when my family resettled back to my native land. I am currently enrolled in a local undergraduate study program undertaking a media degree in ALMASHREQ Universty of Science and Technology. I consider my recent found interest and work in film making to be the crowning of my collective long running interests in photography and creative writing. Throughout my childhood and early youth, living in diverse spaces, has helped increase and develop my sensitivities towards international cultures all which seem to feature in the pattern of my arts. As a young artist I hope to retain my experimental and dependent artistic nature, being the sole mode of which I can express myself and the dynamic and vibrant context around me. Abdalla Ahmed 00249910112202 a.nirmen@hotmail.com

Curriculum is a tiny scale documentary set in Los Angelescentered around the larger theme of knowledge. It loosely follows a character, a tutor for the No Child Left Behind Act implemented by the Los Angeles Unified School District. Running through a few simple ideological questions rather than investigatingcharacters, facts, or events (as one would expect of a documentary), the film was made to open up the matter of education in Los Angeles in relation to socio-economic as well as subjective positions.

Stella Ahn is a Los Angeles native. With a B.A. in Film & Media Studies from the University of California, Irvine, she went on to California Institute of the Arts, where she received her MFA in Film/Video. She likes to make experimental narratives, essay films, and video loops. Her work focuses on unsteadily dismantling the intersections of image, fiction/reality, and politics.

A single channel video piece, looped. The piece is about 13 minutes long, with 1 minute of black over silence at the end. It features two characters, no dialogue, and depending on how one looks at it, either no narrative or a countless number of narratives. The soundscape is equally as important as the visuals. It is immersive, taken from everyday life, containing the bellows of trains to automobile traffic to background music at a shopping mall. Newhall is the district in Southern California in which the piece was conceived and shot.

Stella Ahn is a Los Angeles native. With a B.A. in Film & Media Studies from the University of California, Irvine, she went on to California Institute of the Arts, where she received her MFA in Film/Video. She likes to make experimental narratives, essay films, and video loops. Her work focuses on unsteadily dismantling the intersections of image, fiction/reality, and politics.

The Annunciation is a film in which one of the central motifs of Christian iconography is constructed and re-enacted through moving image.

Eija-Liisa Ahtila Born in 1959 in Hämeenlinna, Finland, Eija-Liisa Ahtila is visual artist and filmmaker. Her films and multi-screen installations explore and experiment with narrative storytelling, creating extraordinary tales out of ordinary human experiences.

WHERE IS WHERE? (S-16 mm/ HD; 1:1:85; DD 5.1) Crystal Eye ? Kristallisilmä Oy ONE LINER La Mort et La Poétesse transposent dans la réalité d?aujourd?hui un fait divers de l?époque de la guerre d?Algérie : deux petits garçons ont tué leur meilleur ami, un garçon français. BRIEF SYNOPSIS WHERE IS WHERE? est un film expérimental et une installation, basé sur un fait divers de l?époque de la guerre d?Algérie. Réagissant aux atrocités perpétrées par les Français, deux petits garçons ont alors assassiné leur camarade de jeux, un petit garçon français du même âge. Le film débute dans le monde contemporain, quand la Mort entre dans la maison de la poétesse. Celle-ci se met à explorer l?événement passé qui se confond petit à petit avec l?instant présent. Dans le jardin de l?arrière-cour, la brume se lève, laissant apparaître une barque d?une couleur éclatante qui flotte dans la piscine. Adel et Ismael y sont installés. SYNOPSIS WHERE IS WHERE? explore le colonialisme et la coexistence de deux cultures différentes. Le point de départ est un fait réel de l?époque de la guerre d?Algérie, à la fin des années cinquante. Le pays était alors sous la tutelle de l?administration française et venait d?entamer une longue lutte pour l?indépendance, contre l?Etat colonisateur. Cette époque fut d?une violence extrême, marquée par les attentats des indépendantistes et par la dure répression de l?administration française. En réaction à, ou par conséquence des atrocités commises par les Français, deux petits garçons algériens ont tué leur camarade de jeu, un petit garçon français du même âge. Malgré ce point de départ ancré dans la réalité, c?est la relation de l?évènement au monde d?aujourd?hui qui est au c?ur de l?histoire. La narration débute dans l?instant présent, le geste des garçons et les événements de l?Algérie s?y confondant petit à petit. Le meurtre est examiné à la lumière de la situation mondiale actuelle d?une part, et d?autre part en tentant d?apporter une perspective historique aux conflits arabo-occidentaux ? tout en abordant les événements du point de vue de l?individu, à travers son expérience propre. L?histoire comporte trois personnage principaux : Adel et Ismael, les deux jeunes Arabes auteurs du meurtre, et une poétesse européenne, une femme d?une quarantaine d?années. La narration débute avec l?arrivée de la mort dans la maison de la poétesse. L?expérience de la mort est mise en parallèle avec l?arrivée dans un nouveau pays, et avec une remise en question de l?existence et de l?identité. Dans ses activités de poète, à l?aide de mots, la femme se met à décortiquer le fait divers et les éléments qui y sont liés : les différences religieuses, la culpabilité, la recherche de la ressemblance et de la communion. Petit à petit, le point d?ancrage se déplace du monde de la poétesse vers la réalité des garçons. Le meurtre se détache de son époque et est transposé dans monde d?aujourd?hui. Dans le jardin de l?arrière-cour, la brume se lève et laisse apparaître une barque qui flotte dans la piscine et où sont installés Adel et Ismael. La poétesse passe en arrière-plan, et c?est la parole des garçons et le caractère inévitable de leur geste, ses raisons et ses conséquences, qui se trouvent au centre de l?histoire. L?action se déroule dans une réalité fictive interne au film, ainsi que dans un décor référentiel aux airs de théâtre. L?effet recherché est de rendre la narration plus vivante, mais aussi d?explorer la façon dont les différents niveaux de narration fonctionnent ensemble. Le mode de narration est donc expérimental ? l?information est fournie non seulement de façon traditionnelle par ce qui se passe directement sur l?écran, mais aussi par les images et les sons qui acquièrent une plus grande importance. L?objectif est de donner une autonomie aux éléments expressifs de l?image en mouvement, afin qu?ils ne soient plus simplement subordonnés à l?histoire mais pour qu?ils transmettent une information sensorielle propre (ex. scène avec les danseurs soufis, paysages de pays différents, scènes de chants). Ainsi, l?histoire gagne en ampleur, en dimension personnelle et en charge émotionnelle, la chronologie traditionnelle se brise sans pour autant perdre le fil de la narration. La présence des acteurs suit cette même logique : l?accent dans le dialogue entre la Mort et la Poétesse n?est pas tant dans l?information transmise par les mots que dans les expressions et les postures (ainsi que dans les contacts entre les acteurs et dans l?action, bien évidemment).

EIJA-LIISA AHTILA Born in 1959 in Hämeenlinna, Finland, Eija-Liisa Ahtila is visual artist and filmmaker. Her films and multi-screen installations explore and experiment with narrative storytelling, creating extraordinary tales out of ordinary human experiences. Her works deal with separation, loss, sexuality, relationships among family members, mental disintegration, and death. They investigate the processes of perception and the attribution of meaning, with breaking down the story on several screens around the viewer in the space. Making installations and films has become for her a process of identifying the links between images, sounds, rhythms, light, characters and words, and using them to approach and construct the story. Eija-Liisa Ahtila was the recipient of the Artes Mundi of Cardiff, Wales in 2006, the Vincent Van Gogh Biannual Award for Contemporary Art in Europe, Maastricht, The Netherlands, as well as the Coutts Contemporary Art Foundation Award, Switzerland, both in 2000, and the Edstrand Art Prize, Sweden in 1998. Ahtila attended Helsinki University, Faculty of Law (1980-85); Independent Art School, 198184; and London College of Printing, School of Media and Management, Film and Video (1990-91). She received a Certificate from U.C.L.A. in Film, TV, Theater and Multimedia Studies, Los Angeles (1994-95) and attended special courses at the America Film Institute, Advanced Technology Program, Los Angeles (1994-95). Ahtila has exhibited extensively at numerous museums and film festivals around the world and her films have received distinctive film awards and prizes over the years. Her work has also been widely seen on television in Europe. British Film Institute has published a home DVD box of her films titled The Cinematic Works of Eija-Liisa Ahti/a. Eija-Liisa Ahtila currently lives and works in Helsinki.

The film uses the methods of presentation as a path to the company of other living beings. It expands upon the issues of ecological moving image narrative, the focus being on presentation, imaging and imagination in the context of the moving image.

Née en Finlande en 1959, Eija-Liisa Ahtila vit et travaille à Helsinki. Elle a étudié à l’Université de Californie à Los Angeles, au London College of Priting et à l’Université d’Helsinki. Le travail d’Eija-Liisa Ahtila, installation et film, s’organise conceptuellement autour de la manière dont se construisent images, langages, fils narratifs et espaces. Après avoir examiné les aspects existentiels de l’adolescence et de la découverte de la sexualité, les difficultés des relations familiales, la désintégration mentale et la mort, dans travaux les plus récents, l’artiste questionne les procédés de perception et d’attribution de sens, entre autres à travers des thématiques liant réflexions sur la culture et aspects et existentiels, telles que le colonialisme, la foi et le post-humanisme. Elle a obtenu le prix ARTE Award pour le meilleur film européen au Festival International du Court Métrage d’Oberhausen (2012), le Grand prix du Festival Curtas Vila do Conde (2002), le Prix du meilleur court métrage nordique au Nordisk Panorama (2000). En 2011, elle a été membre du jury du Festival du film de Venise. En 2013, elle a été présidente du jury au FID Marseille. Son travail a été montré dans des musées et festivals, notamment au Musée Guggenheim de Bilbao, au Monderna Museet (Stokholm), à la DHC/Art Foundation for Contemporary Art (Montréal), au Jeu de Paume (Paris), au Museum of Modern Art (New York), au Museo d’Arte Moderna e Contemporanea (Bolzano, Italie), et à la Tate Modern (Londres). Ses films ont été projetés notamment au Festival international du film de Berlin, au Festival du film de Sundance, au Festival international du film de Venise.

OR119 is a theoretical musical based on the ideas of radical psychologist Wilhelm Reich who, as Freud’s favorite student, centered his study on the intersections of psychoanalysis and Marxism. Reich’s best work advocates for a re-imagining of family structure and gender roles, sexual liberation for younger people and the working poor and a deep understanding of the effect of fascisms on the body. OR119 is based on quotations by Reich set to song and also in imaginary conversations between Reich and a number of contemporary feminist thinkers. With a group of women friends in improvisation, we playfully examine the unsettled legacy of Reich and his surprisingly relevant dynamic with feminist thought. Reich proposed Orgone, a universal life energy (akin to Chi) based on sex and positive expression that Reich claims to have discovered, and here we grant him the honor of the next number on the periodic chart (OR119) for his discovery. The musical resonance and vibrations of the voices in song make manifest the invisible positive energy that Reich believed was universal. This is by no means a bio-pic! but it is a celebration of life's potential for immersion in nature, the cosmos and interactive energy.

PEGGY AHWESH has worked since the 70's in wide range of technologies and styles in an inquiry into feminism, cultural identity and genre.  Featured in the Whitney Biennial (1991, 1995, 2002). Solo exhibitions include: Spike Island (2021); Kunsthall Stavanger (2022); Cleave (2019) Microscope Gallery, New York. Film retrospectives: Anthology Film Archives/NYC, Guggenheim Bilbao/Spain, New Media Fest Seoul/Korea, BFI/London and others. Ahwesh is Emeritus Professor from Bard College and al-Quds Bard College, West Bank, Palestine, where she taught media production and history. Collaborator JACQUELINE GOSS makes movies and web-based works that explore how political, cultural, and scientific systems change our sense of self through animation and live action in documentary and essay forms. Her work has shown at Eyebeam Atelier, The Wexner Center for the Arts and festivals in New York, London, Rotterdam. Goss has received awards from the Tribeca Film Institute, Creative Capital Foundation, the Rockefeller Foundation, Jerome Foundation, Herb Alpert Foundation, the United States Artist Award and the Berliner Kunstlerprogramm. Her videos are distributed by Video Data Bank in Chicago. She teaches Media at Bard College

The video shows two policemen wearing Spanish anti-riot uniforms, dancing a tango version of the famous Eurhythmics 80´s song in the luxurious and extremely decorated ballroom space of the XIX century palace Museum Cerralbo in Madrid. The fantastic lyric of the song “ Sweet dreams are made of this ” is the central motor of the piece. The tango version cove song has been arranged by the bandoneon player Fernando Girdini and recorded exclusively for the video. In its origins, tango was mainly a dance between two men. Tango was the result of the cultural mix of locals with African, Italian and Hispanic immigrants. It was originally forbidden by the church and rejected by high society, which resulted in its development in poor suburbs and working-class slums. The video reflects about the last years crisis, 15M movement, the violent riots, Cataluña independency, brutality of Spanish police and military forces and the recent antidemocratic Spanish law ” Ley Mordaza ” (the Gag Rule), becoming illegal and punished to take photos or videos of police forces or use of the police uniforms without the Government’s permission. Desire, power, decadence and frustration: they shoot horses, don´t they?

Carlos Aires was born in Ronda, Spain in 1974. He obtained a bachelor in Fine Arts at the University of Granada in Spain. Upon graduating in 1997, he moved to the Netherlands and completed his postgraduate studies at Fontys Academy (Tilburg, Netherlands), HISK (Antwerp, Belgium) and Ohio State University (Ohio, USA). He was honored with prestigious grants and awards, including: OMI Residency (USA), Edith Fergus Gilmore Award (USA), Generation2008 Caja Madrid (Spain), Young Belgian Art Prize (Belgium), 1st Award Young Andalusian Artists (Spain), Fulbright (USA) and De Pont Atelier (the Netherlands). He has participated in numerous exhibitions in national and international institutions, such as: CAC (Malaga, Spain), MACBA (Barcelona, Spain), Boulder Museum of Contemporary Art (USA), Imperial Belvedere Palace (Vienna, Austria), MUSAC (Leon, Spain), BB6 Bucharest International Biennale (Bucharest, Romania), B.P.S. 22 (Charleroi, Belgium), 5th Thessaloniki Biennale (Thessaloniki , Greece), Museo de Arte Carrillo Gil (Mexico City, Mexico), Canada Contemporary Art Museum (Montreal, Canada). His work can be found within significant public collections: ARTIUM (Spain), MACBA (Spain), Fondation Francès (France), ARTER (Turkey), CAC (Spain), Maison Particulière (Belgium), Ministry of Culture of Spain, Progress Art (Saudi Arabia), National Belgium Bank (Belgium), 21c Museum (USA), MAK (Austria) among others.

A pilgrimage taken by a group of readers to the ancestral house of a writer (a house that haunts all of his stories ) nested in the heart of a city , turns into an exploration of the city , into an exercise in mapmaking…into a hallucinatory encounter with the real. Told through the eyes of a stranger, a newcomer, walking through a modern bustling city, blanketed by a dream made of ancient lore's ,stories and signs, the film tries to explore the alchemical process behind the art of storytelling, that transmutes the 'real' that inspired it . And the impossible mirages a body of work can create in an obsessive readers mind which compels him to chase it ...

Born and brought up in Quilon India , Shahi A.J is An Alumni of Film and Television Institute of India , where he specialized in script writing and direction. His students work has been shown at various film festivals including Clapstick Kolkata, Signs Kerala, Hong Kong Film Festival etc. He teaches filmmaking St Joseph College . He is a recipient of the Practice Grant form Indian Foundation of Arts(IFA). His work has been shown in Kochi-Muziris Biennale 2022 and the International Documentary and Short Film Festival of Kerala (IDSSFK). His debut feature premiered at the International Film Festival of Rotterdam 2023 .

Le 7 avril 2020, 8 mois se sont écoulés depuis qu'Emine Bulut a été assassinée par son ancien mari. Une lettre lui est adressée, ainsi qu'à toutes les victimes de fémicide dans le monde; une lettre qui questionne la féminité, le fait d'être une femme en Turquie...

Özge Akarsu est née et a grandi en Turquie. Elle vit actuellement en Belgique où elle étudie le cinéma d'animation à la KASK - Académie royale des Beaux-Arts, Gand. Avant de commencer ses études en animation, elle a obtenu un master en droit relatif aux droits humains, spécialisé en philosophie politique, à Istanbul (Turquie). Après trois ans de recherche doctorale sur Spinoza et la modernité, à l'Université d'Anvers (Belgique), elle s'est intéressée à l'animation et à la réalisation, qui l'aident à exprimer pensées, sentiments, idées et instincts qui ne peuvent être expliqués uniquement par les mots.

Impressions d?Est après la chute du mur. « Tous ces pays, en pleine mutation, qui ont vécu une histoire commune depuis la guerre, encore très marqués par cette histoire jusque dans les replis même de la terre et dont maintenant les chemins divergent. » (Chantal Akerman) D?Est est un film quasiment sans parole, le contraire des Histoires d?Amérique (où la parole est prépondérante) et en même temps son prolongement. « D?Est est profondément fictionnel, parce que cela permet au spectateur de se raconter des histoires. Le cadre aussi y est pour beaucoup, il n?est jamais documentaire. Je ne dis pas, je vais tout vous dire sur la Russie. D?Est n?est pas qu?un film sur l?Europe de l?Est. Ces images, je les avais déjà en moi. Cela a à voir avec les camps, les évacuations, les images d?avant moi. » (Chantal Akerman)

Chantal Akerman est issue d'une famille émigrée d'Europe centrale dans les années 30. Elle est née à Bruxelles en 1950. Elle étudie le cinéma à l'Insas (Institut supérieur des Arts, du Spectacle et des Techniques de Diffusion), à Bruxelles. Après un premier court métrage, elle émigre à New York, où elle se passionne pour le cinéma expérimental de l'Américain Jonas Mekas et du Canadien Michael Snow, dont l'influence est perceptible dans les premières réalisations de la cinéaste. Sur place, elle réalise un court métrage et s'essaie au format long (Hotel Monterey, consacré à un hôtel pour nécessiteux de New York). Revenue en France, elle alterne, depuis 1968, documentaires (Un jour Pina a demande Pina Bausch, D'Est, Sud sur le lynchage d'un jeune Noir américain, De l'autre côté), et films de fiction (Toute une nuit, Nuit et Jour, etc.).

Captain Gervasio`s Family is a 16mm black and white silent portrait of a Spiritist community in Palmelo, a small town in the interior of Brazil. It?s a town of 2000 inhabitants, half of whom are psychic mediums. The film refers to a map drawn by a Spiritist woman in Palmelo, charting twenty astral cities hovering above the whole of the Brazilian territory. Cities ?like those on earth, but infinitely more perfect?. The Spiritists in Palmelo practice what is known as `the magnetic chain?, a legacy from the German physician Franz Mesmer, the founder of Spiritism Allan Kardec, and the French botanist François Deleuze. The film is a collaboration between the artists Tamar Guimaraes (BR) and Kasper Akhøj (DK).

Kasper Akhøj was born in Copenhagen, Denmark where he lives and works. He studied at the Czech National Film School (FAMU), Städelschule - Staatliche Hochschule für Bildende Künste, Frankfurt, and the Royal Danish Academy of Fine Arts, Copenhagen. He is also a former participant of the Whitney Museum Independent Study Program in New York. He is represented by Ellen de Bruijne Projects in Amsterdam and has exhibited widely at major museums and biennials, both solo and in collaboration with Brazilian artist Tamar Guimaraes, most recently at last years 55th Venice Biennale, The Encyclopedic Palace. Tamar Guimarães was born in Belo Horizonte, Brazil and lives and works in Copenhagen, Denmark. She holds a BFA from Goldsmiths College, University of London, and MFA from Malmö Art Academy, Sweden. She is also a former participant of the Whitney Museum Independent Study Program in New York. She is represented by Galeria Fortes Vilaça in Sao Paolo, and has exhibited widely at major museums and biennials, both solo and in collaboration with Danish artist Kasper Akhøj, most recently at last years 55th Venice Biennale, The Encyclopedic Palace.

In the video, the artists combine pseudoscience with repetition to investigate the connection between technology and truth. An E-meter device was exploited as a crude polygraph machine. Its pseudoscientific function is to "detect lies" in order to monitor a statement`s progression from lie to truth. Statements were read to and repeated by the participants. Through continuous repetition, the subjects built a relationship with the spoken words, which over time, matured into experiences and finally beliefs. All of the combined elements resulted in mettre en abîme the transformation of a political affirmation into a belief.

Edward Akrout is a Franco-British artist that works between London, New York and Paris. His practice, which largely includes painting, drawing and sculpting, is best described as abstract expressionism. Personal website: EdwardAkrout.com Representation: Lahd Gallery Jakob Boeskov is a Danish-Icelandic artist and filmmaker that works between New York and Copenhagen. Having graduated from The Royal Danish Academy of Fine Arts, his pieces have been shown in museums such as New Museum, Science Politiques, Moscow State Academy Art Institute and the Stedelijk Museum. Personal website: JakobBoeskov.com Representation: The Scandinavian Institute