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A little boy who is playing with a cute little cat, suddenly transforms his pleasure for the game into an uncontrolled act of hate. This one-minute video makes us reflect upon the origin of violence.

Cecilia Barriga was born in Chile. In 1977, she moved to Madrid, Spain. For the last 20 years, she has worked in different visual formats, such as film, video art, documentary, and feature film. Her most important works are: in 1991, "Meeting two queens", a master experimetal piece shown in MOMA, New York, Whitney Museum, Reina Sofia, Guggenheim Museum, and also in many universities around the world; and in 2000, "Time's up!", a feature film with commercial releases in Paris, Madrid, and many festivals, including San Sebastian International Film festival. Among her recent works are "El camino de Moises" (2004), a documentary which was a remarkable success on Spanish Television; "The origin of violence" (2006), was shown in the most important art museums in Spain.

Verdun is a video made of fragments of images from the 1st World War. Is disturbing the silence of empty landscapes. It?s as a narrative of the emptiness after the destruction and of what?s left of absent people. It?s about the experience of loosing visibility and finding a new one in the loss, and in what rests in that loss.

Daniel Barroca was born at Lisbon in 1976. Studied Visual Arts at the School of Art and Design of Caldas da Rainha in Portugal from 1996 to 2001 and in Ar.Co in 2002. Won the Prize for the Young Creation in Visual Arts 2003-04 of the Union Latine. During the last trimester of 2004, lived and worked at the Spanish Academy in Rome. In the last years participated in several exhibitions and video festivals in Portugal, Italy, France and Norway.

"A Miracle" is a film created in collaboration with the Toronto-based band, The Hidden Cameras, which demonstrates the artist's "live animation" techniques. The video features a young boy lying in bed, using the light of the moon to make shadow puppets on his bedroom walls. While experimenting with forms, he summons the spirit of a huge, fruity, bird-like creature with the profile of an owl, and the feathers of an ostrich. The creature shares a brief, romantic exchange with the boy before swallowing him whole, and then regurgitating, twisting and compressing his indigestible parts into a gizzard-shaped ball. In the end, the owl flies out the window, leaving the boy standing naked and cold in his room. The boy ultimately finds resolve by creating a gliding, self-representational plane, symbolically reuniting with the owl.

Daniel Barrow is a Winnipeg-based media artist, working in performance, video, and installation. He has exhibited widely in Canada and abroad. Recently, Barrow has exhibited at The Museum of Contemporary Art (Los Angeles), New Langton Arts(San Francisco), and The Contemporary Art Gallery (Vancouver). Since 1993, Barrow has used an overhead projector to relay ideas and short narratives. Specifically, he creates and adapts comic book narratives to a "manual" form of animation by projecting, layering, and manipulating drawings on mylar transparencies. Barrow variously refers to this practice as "graphic performance, live illustration, or manual animation".

Using 1988 Amiga software (a veritable antique, by technological standards), Barrow uses a computer mouse to illustrate and animate his ?gratuitously honest? personal manifesto. Artist Statement is a video Barrow created to describe, but also to parody, his personal approach to art making. It is also representative of his recurrent themes, methods and preoccupation with obsolete technologies.

Daniel Barrow is a Winnipeg-based media artist, working in performance, video and installation. He has exhibited widely in Canada and abroad. Recently, Barrow has exhibited at The Museum of Contemporary Art (LA), New Langton Arts (San Francisco), and The Contemporary Art Gallery (Vancouver). Since 1993, Barrow has used an overhead projector to relay ideas and short narratives. Specifically, he creates and adapts comic book narratives to a "manual" form of animation by projecting, layering and manipulating drawings on mylar transparencies. Barrow variously refers to this practice as "graphic performance, live illustration, or manual animation."

"A Miracle" is a film created in collaboration with the Toronto-based band, 'The Hidden Cameras', that demonstrates the artist's "live animation" techniques. The video features a young boy lying in bed, using the light of the moon to make shadow puppets on his bedroom walls. While experimenting with forms, he summons the spirit of a huge, fruity, bird-like creature with the profile of an owl, and the feathers of an ostrich. The creature shares a brief, romantic exchange with the boy before swallowing him whole, and then regurgitating, twisting, and compressing his indigestible parts into a gizzard-shaped ball. In the end, the owl flies out the window, leaving the boy standing naked and cold in his room. The boy ultimately finds resolve by creating a gliding, self-representational plane, symbolically reuniting with the owl.

Daniel Barrow is a Winnipeg-based media artist, working in performance, video, and installation. He has exhibited widely in Canada and abroad. Recently, Barrow exhibited at The Museum of Contemporary Art (Los Angeles), New Langton Arts (San Francisco), and The Contemporary Art Gallery (Vancouver). Since 1993, Barrow has used an overhead projector to relay ideas and short narratives. Specifically, he creates and adapts comic book narratives to a "manual" form of animation by projecting, layering, and manipulating drawings on mylar transparencies. Barrow variously refers to this practice as "graphic performance, live illustration, or manual animation."

This film by Edson Barrus focuses on three cities: Sao Paulo, Paris and Yokohama. Filmed entirely on a cellular telephone, it promenades us from one city to another using the underground. We thus move from a sunny view of Sao Paulo to a grey and rainy evening in Paris. The alignment of graves in a shinto cemetery evokes the division of motifs in the sidewalk mosaics on Paulista Avenue, which themselves reinforce the choreographed production of pixels, blurring images to benefit their Brownian motion. This wandering is articulated around the notion of transportation: people's transportation, in cars, underground, on escalators or taking the elevator. But image and voice transportation is included in this generalized transit, and cell phones and cameras become undeniable appendages of gesture and survival in urban territory. It is not possible to speak properly of a plot, but of the seizing of moments and behaviors in these cities through which the filmmaker passed.

Edson Barrus, born in 1961 Brazil, artist leaving in São Paulo and Paris. Develop now with UTBM the Project Mulato`s Dog. Artistgranted by CNPQ-Brasil. Cultural activist , has created the alternative space Rés do Chão in Rio de Janeiro from 2002 to 2005, a space to study, perform display and investigate on contemporary art practices. Editor of the magazine Nós Contemporâneos. Has participated to many International Film Festival in Europe and in the Americas.

Missing Green (2013) is a poetic journey through Cork Street, Dublin, Ireland. Two parallel stories inter mesh to create one underlying narrative.

Anne Maree Barry is a film artist based in Dublin. Barry?s experimental short films have screened internationally and her work has also been installed in a gallery context at The LAB, Dublin and the Tampere Art Museum, Finland. Missing Green, her most recent short film, was selected for the Stranger Than Fiction Documentary Festival and Indie Cork.An in-depth interview concerning her research methodologies and practice featured in Film Ireland last year.

Oliver Cromwell's republican government in Britain saw an era of social austerity in which gambling and drinking were punishable crimes. After Cromwell's death, England once again became a monarchy. In 1660 Charles II took the throne, the forbidding laws were annulled and the tradition of the "Grand National" became well established as a social and cultural activity which is associated with the king who is known for his fondness of horses. The "Grand National"- one of the biggest race courses in Britain ? is a site at which cultural heritage, history and contemporary British society meet. Since the days of Charles II it hosts the peak of the social season. It is a glamorous event that attracts thousands every year, including members of the Royal Family. Bartana arrives at this social event in order to focus on the audience. In her previous work Bartana focused on rituals, memorials, and bestowing of social ceremonies that are part of Israeli society. In doing so, she documented events that involved issues of local, national, public, and personal identity. The primary aim of civilian rituals is the consolidation of a distinct local collective identity and intensification of the feeling of belonging of the individual. As time passes, the gesture alone remains in its updated form, but is occasionally empty. The original meaning of the ceremony is flattened, and what remains is a symbol and a mere reminder of what was before. In the "Grand National", commissioned by the Liverpool Biennial, Bartana investigates the socialization rituals that take place around the race course and examines the tension that is created between the site, the past culture, and today's society. Among others, Bartana chooses to focus on an event that is considered by many as the highlight of the happening ? Ladies Day - an ostentatious show of fashion and high heels, an extroverted exhibition of colour and stereotypical femininity.

Yael Bartana was born in 1970 in Kfar-Yehozkel, Israel. She has a BFA from the Bezalel Academy of Art and Design in Jerusalem, an MFA from the New York School of Visual Arts and participated in the Rijksakademie artist-in-residence program from 2000-2001. She has had solo exhibitions in many countries, including Germany, Israel, Australia, and Japan, and has won various prizes such as the Anselm Kiefer Prize in 2003 and the Dorothea von Stetten-Kunstpreis in 2005. Her work focuses mainly on the relationship between ritual and identity in Israeli society, looking at the practices that constitute identity, especially in its relation with traditional and contemporary notions of gender, place, and ethnicity. In most of the pieces Bartana uses documentary footage shot in public or semi-public spaces at collective events that contribute to identity formation, such as shooting drills for trainee female soldiers or the carnivalesque festivities of the Jewish holiday 'Purim'. Bartana currently lives and works in Amsterdam.

Hercules travels by bike from Krefeld in the Lower Rhine region to Mount Olympus, the throne of ancient deities. In the process, the legend of Hercules, as a primal myth of masculine power, is interrogated by means of biographical reflections and stagings of mythological echoes. The dramatic structure of this hero’s journey breaks up, in multi-material perspective, into issues of male identity, ideals and remorse.

Nils Ramme and Felix Bartke have been studying at the Academy of Media Arts Cologne since 2017. Since 2020 they share an artistic practice, which so far has resulted in the short films "Cruiser" (2022) and "Hercules" (2023). "Cruiser" has been shown internationally ( Internationale Kurzfilmtage Oberhausen; Clermont-Ferrand; St. Louis International Film Festival, Missouri, Landshuter Kurzfilmtage, FECI Bogota) and was awarded the "Queer- and Genderprice 2022" by the "blicke Filmfestival" (Bochum, Germany).

Istanbul famously stands as the bridge between Asia, Africa, and Europe, and it is at this geographical crossroads that three migrant families? stories intersect. Far from the glorious Ottoman architecture and the glamorous Bosphorous nightlife, In Transit shows the tough life of transients stuck in Istanbul, between their war-torn or impoverished past and their imagined and elusive future. It tracks an Iraqi Arab family, an Iraqi Kurdish family, and a Nigerian couple for a full year, witnessing their struggle to adapt to life on the margins of an unforgiving city while awaiting visas and work permits that never seem to come.

Berke Bas studied Political Science & International Relations and Media Studies in Istanbul and New York, respectively. Worked as a producer, director and editor in various media projects. In 1998 she co-founded inHouse projects which specializes in documentary production, among the works is Crossing Brooklyn, a one hour documentary on three teenagers living in diverse neighborhoods of Brooklyn. Now located in Istanbul, she is a part-time lecturer at the Film-TV and Cultural Studies graduate programs of Istanbul Bilgi University. In Transit is her first feature documentary as a director.

A correspondance between two lovers from two mediterranean cities, a forbidden letter given to the sea to carry. The title means phone echo, the voice's echo.

Anouch Basbous was born in Marseille in 1999 and grew up in Berlin where she developed an early interest for visual storytelling through photography. After her first visit to Lebanon in 2018, that marqued her profoundly, she decided to pursue a career in filmmaking. In 2022 she obtained her bachelor degree from Marseille’s School of Fine Arts. She collaborated with Thery Al Alam, a Lebanese musician, on her first film ???? ??? [ Hatef Sada ] where she explores the use of "hors-champ" in narrating a queer love story. She is currently pursuing her master and working on another film set in Lebanon.

"The Spot of Time" is a cinepoem that intertwines elements of metafilm, found footage, documentary and fiction. The title references William Wordsworth’s poem The Prelude, in which "spots of time" are described as events of profound significance for personal growth. These "moments of illumination," recalled in a state of tranquility and as if relived, become renewing sources of creative energy, imagination, and inner strength.For the authors such a moment was the discovery of old film and photo reels near a fishing village on the shores of the Azov Gulf. Over the course of 20 years, they have returned to this place again and again, gradually uncovering its mysterious properties. Their find becomes the heart of a strange world—one that spans just a few kilometers of shoreline and an hour and a half of screen time. The film received a special prize at the festival "Doker" (Moscow, 2025).

Mikhail Basov (b. 1977, Taganrog, Russia) - filmmaker, video artist. His works has been exhibited internationally in festivals & gallery exhibitions such as Experimental Film Festival Portland, Video Art Biennial in Barcelona VIDEOAKT, Oslo Screen Festival, WRO media art biennale, Kasseler Dokfest, Japan Media Arts Festival, Jihlava International Documentary Film Festival, Festival Miden, DOKER, Kinodot, International Film Festival "Message to Man", Ryuichi Sakamoto Async International short film competition (Apichatpong Weerasethakul award), Rencontres Internationales Paris / Berlin, 32nd São Paulo international short film festival, Moscow International Experimental Film Festival & other.

? ticking clock. A view out of a window: the beat of spring thaw - melting ice dripping through the holes of a drain pipe, droplets falling on a child’s hand and a withered grapevine. All these random, unrelated, insignificant things, sounds, and movements begin to live one common life, communicating with each other and Time.

Mikhail Basov (b. 1977, Taganrog, Russia) - filmmaker, video artist. His works has been exhibited internationally in festivals & gallery exhibitions such as Experimental Film Festival Portland, Video Art Biennial in Barcelona VIDEOAKT, Oslo Screen Festival, WRO media art biennale, Kasseler Dokfest, Japan Media Arts Festival, Jihlava International Documentary Film Festival, Festival Miden, DOKer Shorts, Kinodot, International Film Festival "Message to Man", Ryuichi Sakamoto Async International short film competition (Apichatpong Weerasethakul award), Rencontres Internationales Paris / Berlin, 32nd São Paulo international short film festival, Moscow International Experimental Film Festival & other.

The glory and decadence of the Mongolian ethnicity. Climate change and the economic and urban transformation of China have seen the steppes turn into desert and its inhabitants forced to leave the countryside for the city. Among the people who are emigrating to the metropolises, a group of horse breeders has decided to set up home in the suburbs of Beijing, in the stables of a Chinese billionaire crazy about horse racing. Their livelyhood is assured, although modest, but the memory of what they used to be haunts them tirelessly. While their memories return to the spaces of their native lands like ghosts from another era, they find their daily activities useless and meaningless. In the meantime, the Chinese businessman is fights government to legalise horse racing betting. A film that blends the evocation of the past with the observation of a little-known reality, wreathed in melancholy that we perceive through a statuary aura frozen in time and the language of a lost epic tale.

After growing up in Corrèze, Rémi moves to Paris to study at Sciences Po. There, he starts a blog of film analysis and creates a short film festival. He then works for a few months at Alfama Films with the producer Paulo Branco. In 2012, he enters the directing department of La Fémis where he directs both fictions and documentaries. In 2017, his graduating documentary is selected in the International Competition at Nyon’s Visions du Réel. Rémi is now working on the development of his first feature film “Merzouga” and on other short film projects.

Its an ethnographic film exploring the legend of a Mahadeo Koli Goddess Kalsu whose story and identity remains impregnated in the consciousness of the women of the tribe even today. The film tells the story of the Goddess while drawing visual contrasts between primordial and contemporary images.

Yudhajit Basu joined Film & Television Institute of India, Pune in the Direction Department in 2017 after graduating in Mass Communication and Videography from St. Xaviers College, Kolkata, India. He has made short films & documentaries centering around the themes of climate change and the dichotomy between the modern and the primordial. He is also the editor of a little magazine on poetry in Bengali called “Shabdo (Sound)” and has also published books on poetry. He has been invited to participate in Opening Scenes Lab at 52nd edition of Visions du Réel, Switzerland, which is a special programme for the 16 filmmakers selected globally where his latest short film ‘Kalsubai’ had its World Premiere. Over the years Yudhajit has produced and directed short films, Khoji, Quiro, and Gulnara. These films have been screened at various National & International Film Festivals including Ismailia International Film Festival, Egypt; Toronto South Asian Film Festival, Canada; Bucharest Film Festival Romania; IDSFFK, Kerala, India; ISFF, Melbourne, International Changing Perspective SFF, Istanbul, Turkey amongst many others. His latest Short Film KALSUBAI which is a short 20 minute ethnographic film about the legend of a Koli goddess, had its World Premiere in Visions du Réel International Short Film Festival of Nyon in Switzerland. The film explores the Koli legend of the tribal deity ‘Kalsu’ whose story remains impregnated in the consciousness of the women of the tribe even today. The film won the best film award (Grand Online Prize of the City of Oberhausen) and also bagged a Special Mention from the Ecumenical Jury of Oberhausen. Kalsubai had its UK Premiere in the Sheffield Docs Film festival, Austrian Premiere at Vienna Shorts and its Dutch Premiere at International Documentary Film Festival of Amsterdam (IDFA) 2021 and many more. Yudhajit's recent docu-fiction project “What We Lost in the Fire” has been selected in the Co-Production Market at National Film Development Corporation, 2020

In the appartment of a family from the Portuguese migration of 1960 located in Nanterre, family members face an exclusive logic of identity and the limits of their desire. Interpersonal and generational narratives are interwoven with an exterior to the stage. Their visions and alienation follow each another within intersecting fragments, a backstage for the failures of integration politics against new points of decisive action.

Angelin is a French-Portuguese filmmaker, photographer and performer based in France. They collaborate with the experimental film platform Kinet.media (US) and co-direct the experimental music label Hisolat under the pseudonym Abhr.

The result of a collaboration between the Senegalese contemporary dance company Diagn'art and the Belgian and Swiss artists Kita Bauchet and Stéphanie Pfister, "Saint-Louis on the move" presents a subjective sketch of the city and the rythme of its daily life. An exploration of Saint-Louis through several choreographies performed by 2 dancers and 2 cameras, on Siegfried Canto’s music that highlight the cities energy and the fierce creativity of its youth.

A graduate of INSAS, Kita Bauchet is a Belgian filmmaker. After several short fiction films, Violette et Framboise, Le temps d'un soufflé, Violette au Travail, in 2009 she directed La Fabrique de Panique, a feature-length documentary on the Belgian animated film "Panique au village" by Vincent Patar and Stéphane Aubier, will follow in 2016 Une vie contre l'oubli on the work of director André Dartevelle. In 2018, she created Bains Publics, which opened the doors to the "Bains du Centre" in the heart of a popular district of Brussels. The film received the France Télévisions prize for best documentary at the International Festival of Women's Films in Créteil as well as at the Brussels in Love festival and a special mention from the jury at the "Signes de vie Clermont-Ferrand" festival.

In a Kyoto bookstore, an employee receives a parcel of new books. She methodically leafs through them, scratching the surface of certain pages with a blade in an extrapolation of the use of bokashi, a Japanese practice of self-censorship wherein obscenity is defined as ?that which unnecessarily excites or stimulates sexual desire.? In a poetic of the absurd, the film extends the bokashi gesture beyond the question of desire, in a ritual that doubles as a meditation on what an image does, or can do.

Eric Baudelaire, born in Salt Lake City in 1973, lives and works in Paris. Working in video, photography, printmaking and installation, Baudelaire is interested in the relationship between images and events, documents and narratives. Recalling factographic practices, his work can involve elaborate staged situations that appear to be real, but are somewhat off-kilter, placing the viewer in a situation of questioning the modes of production and consumption of images, political and social constructs and their modes of representation. He also uses simple techniques of assemblage, sampling and mechanical reproduction, applied to real documents, to playfully extract fictive narratives or new formal vocabularies. He has had solo exhibitions at Elizabeth Dee gallery, New York, Galeria Juana de Aizpuru, Madrid, and in Belgium at the Galerie Greta Meert and the Musée de la Photographie, Charleroi. His work is present in several public collections, including the Whitney Museum of American Art, the Centre Pompidou, the Fond National d`Art Contemporain, and the FRAC Auvergne.

Every family has a secret it would rather forget. A tour guide, a writer, a priest and his wife each come from a country which no longer exists but which took them prisoner when they were as old as their children are now. They were public enemies of the German Democratic Republic (GDR), later to be "bought off" by the West German government. They spoke their minds and were sent to prison for it. But today it's almost impossible for them to talk about that past within their families, who were strongly affected as well. "Last to know" are the victims' parents or even their children, as some are afraid to ask specific questions while others lack the courage to answer them. This film tells the story of three German families out of an estimated 250,000 former political prisoners of the East German regime.

Marc Bauder was born December 21, 1974, in Stuttgart, grew up in the area of Lake Constance, and is currently living in Berlin. His studies include: 1996-2001, Business Administration in Cologne, St. Gallen, and New York; and 2001-2004, Film School Potsdam-Babelsberg. Professional Experience: 1997, ZDF, Hauptredaktion Reihen u. Serien; Fritz Wagner Filmproduktion, Production Assistant; 1999, HMR International, Cologne: Media Consulting; Founding of bauderfilm. Select filmography includes: 2000, "No lost time" Documentary; bauderfilm/ WDR, Script, Director, Producer; Dokfilmwerkstatt Poel; International Documentary Film Festival Leipzig; 2003, "grow or go ? the architects of the global village" Documentary; bauderfilm/ZDF "Das kleine Fernsehspiel", Script, Director, Producer, International Documentary Film Festival Leipzig; 2004, Istanbul International Film Festival; Crossing Europe Film Festival, Linz; International Film Festival AFO; 2006, "Das kleine Fernsehspiel", Script, Director, Producer, Berlinale Panorama; and "the communist" Documentary. Dörte Franke was born November 11, 1974 in Leipzig, former GDR, and moved to Cologne in 1981. He has been living in Berlin since 2001. His studies and work include: 1994-2001, University of Cologne, M.A. political science; 2001-2005, Film School Potsdam-Babelsberg Publications; 2001, "die einen wetten, die anderen warten", novel; 2002 "denkmalimkopf", novel; Lecturer for Manga-Translations, i.e. Perfect Girl, Tokyopop Select filmography and exhibitions: 2000, "No lost time", documentary; 2003, "Westpaket", short film; San Francisco; "grow or go ? the architects of the global village" documentary; 2004, "Spurensucher - Images of Otto Weidt", documentary; 2006; "last to know", documentary; 2006, "the communist", documentary; "Stumbling Block" documentary.

As the relationship with her girlfriend frays at the edges, Mimi tries to apprehend the symptoms of an impending breakup.

Camille Simon Baudry is a filmmaker, artist and researcher born in the Mauges region of France in 1998. Over the past few years, she has been developing an open cinema project, driven by decompartmentalizing representations that challenge the usual ways of thinking, designating and representing the “I”, the “other” and the “environment” in the West. Her itinerary and quest for new or renewed ecological visions thus found a new web of relationships, based on recognition of marginal and silenced lives, and connection with feelings (human and earthly) that are commonly neglected.