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Tygers (2014) is a glance at the fancy moves by the Mansfield Senior High football team in Mansfield, Ohio, the alma mater of the filmmaker.

Kevin Jerome Everson: Filmmaker Biography Kevin Jerome Everson (b.1965) was born and raised in Mansfield, Ohio. He has a MFA from Ohio University and a BFA from the University of Akron. He is currently a Professor of Art at the University of Virginia, Charlottesville. Everson was awarded the prestigious 2012 Alpert Award for Film/Video and was the subject in spring 2012 of a mid-career retrospective at Visions du Reel, Nyon Switzerland, a solo exhibition at the Whitney Museum of American Art in 2011 and a retrospective at Centre Pompidou in 2009. He is slated for a solo exhibition at the Cleveland’s MoCA in late 2014. His films have screened at 10 consecutive IFFR editions, since 2005. His artwork--paintings, sculptures, and photographs--and films, including six features (Spicebush, 2005; Cinnamon, 2006; The Golden Age of Fish, 2008; Erie, 2010; Quality Control, 2011; The Island of St. Matthews, 2013) and over 100 short form works, have been exhibited internationally. From April-September 2011, a solo exhibition of 17 short form works, More Than That: Films of Kevin Jerome Everson, was featured at the Whitney Museum of American Art. A 3 DVD Boxed Set, Broad Daylight and Other Times, was released by Video Data Bank (U.S.) in 2011. The feature film Quality Control (2011) was included in the 2012 Whitney Biennial and the short Emergency Needs (2007) in the 2008 Whitney Biennial. Everson has received numerous fellowships and academic awards including the Guggenheim, NEA, American Academy Rome Prize, and grants and residences from Creative Capital, Hallwalls Contemporary Arts Center, Yaddo and MacDowell Colony.

Workers Leaving the Job Site is another take on the Lumiere Brothers classic 1895 film. Shot in Columbus, Mississippi, the hometown of the filmmaker's parents.

Kevin Jerome Everson (b.1965) was born and raised in Mansfield, Ohio. He has a MFA from Ohio University and a BFA from the University of Akron. He is currently a Professor of Art at the University of Virginia, Charlottesville. Everson was awarded the prestigious 2012 Alpert Award for Film/Video and was the subject in spring 2012 of a mid-career retrospective at Visions du Reel, Nyon Switzerland, a solo exhibition at the Whitney Museum of American Art in 2011 and a retrospective at Centre Pompidou in 2009. He is slated for a solo exhibition at the Cleveland’s MoCA in late 2014. His films have screened at 10 consecutive IFFR editions, since 2005. His artwork--paintings, sculptures, and photographs--and films, including six features (Spicebush, 2005; Cinnamon, 2006; The Golden Age of Fish, 2008; Erie, 2010; Quality Control, 2011; The Island of St. Matthews, 2013) and over 100 short form works, have been exhibited internationally. From April-September 2011, a solo exhibition of 17 short form works, More Than That: Films of Kevin Jerome Everson, was featured at the Whitney Museum of American Art. A 3 DVD Boxed Set, Broad Daylight and Other Times, was released by Video Data Bank (U.S.) in 2011. The feature film Quality Control (2011) was included in the 2012 Whitney Biennial and the short Emergency Needs (2007) in the 2008 Whitney Biennial. Everson has received numerous fellowships and academic awards including the Guggenheim, NEA, American Academy Rome Prize, and grants and residences from Creative Capital, Hallwalls Contemporary Arts Center, Yaddo and MacDowell Colony.

" A Free Moment was made in Tell el-Full in Jerusalem. The site, which before 1967 was in Jordan, had been chosen as the location for King Hussein?s summer palace. The framework of the palace was constructed before the occupation of East Jerusalem after the Six Day War and it remains a kind of ruin to this day. Evron gained access to the site and eventually determined to make a film within the building with a camera which would simultaneously perform three operations: it would pan in a 360 degree circle; it would tilt in another 360 degree circle, and it would undertake these two motions while traveling along a dolly track on a north-south axis. In other words, the camera would exhaust the repertoire of its mechanical motions and ?see? everything possible around it. The film also would last four minutes, being the length of one 400 foot film cartridge. In order to make this work, Evron worked with technical advisors to construct a track within the shell of the abandoned 1967 palace, and to programme the motions of the camera. The resulting film begins simply enough, with a view over Jerusalem. It is a view from a summit, and one we associate with notions of control and ownership ? the kind of view that we could well expect a king to enjoy from a palace. We would not be surprised if this view were accompanied or followed by a panoramic movement, so that the landscape all around was surveyed, but as Evron?s camera begins its journey, a completely unfamiliar motion begins since the camera starts looking up and around while moving backwards. Soon enough it points towards the rough concrete blocks of the floor above it, which, because of the way they are filmed, seem to lose their material identity. It seems as if we are looking down at a strange landscape, rather than upwards at rough breezeblocks. A few seconds later, the initial viewpoint out to the city reappears, but this time it is inverted. As the camera continues its backwards journey, it begins to record the track on which it is moving and the floor beneath the track, another rough surface that appears like a desert or lunar surface. Eventually the motion stops with a return to the orientation with which the film opens. ‏Evron?s film relates to the late 1960s in more ways than the date of the palace: this was the moment of structuralist film, when artists such as Michael Snow, Anthony McCall, Paul Sharits and others began to interrogate the apparatus of cinema, looking at the nature of a zoom or panning movement, the conical shape of a projected film, and the material properties of celluloid. A Free Moment is deeply indebted to this legacy and throughout the film, however unworldly the motion of the camera, Evron emphasizes the construction that has to be in place for this motion to occur: the camera necessarily records the track along which it moves, and even the mechanism between it and the track. But what is much more interesting than its structuralist credentials is the way Evron deploys these formal ideas in order to re-imagine the site in which he works. Through its elaborate structures, the film produces another way of seeing and thinking about the space in which it is set. We are not invited to ?see? Jerusalem as the Jordanian king once hoped to see it, nor as many Israelis now hope to see it, panning around a ?united Jerusalem?, all of which is hoped will remain under Israeli control. Instead, we are invited to loosen our ways of looking at architecture and landscape, to turn our way of looking on its head. The invitation and utopianism of this work is the idea that this way of looking might mean thinking about the city and its future in completely new ways. " excerpt from a text by Mark Godfrey

Nir Evron, born 1974 is a video artist and film maker. He graduated from the Bezelel Academy of Art and Design in Jerusalem in 2001 and completed a MFA degree at The Slade School of Art in London in 2005. Since then he exhibited extensively in Europe and Israel. He participated in the 2010 Berlin Biennale, The Jerusalem Film Festival (2011) where he won The Ostrovsky Family Fund Award for his piece `A Free Moment`. His solo Show `Here-Afrer` at the Tel Aviv Center for Contemporary Art was received with critical acclaim. His video works and film were purchased by museums and private collections, among them The Israel Museum, Jerusalem, The Tel Aviv Museum and The Zabludovicz Collection, London. He teaches video art at the Bezalel Academy and Hamidrasha College.

The video was shot at the "Seven Arches" hotel in East Jerusalem. Built in 1962 by the Royal Jordanian family, it hosted the first meeting of the P.L.O (Palestinian Liberation Organization) in 1964 and the first signing of the Palestinian charter. Currently managed by Israel`s ministry of justice - department of missing person`s property, its almost empty all-year. The hotel is kept in a state of near death where employees and tourists seem like ghosts. The video follows the hotel`s spaces and halls for 24 hours, focusing on the futile actions of the staff, expecting arrivals that never come.

Nir Evron Born 25/7/1974, Herzeliya, Israel Lives and works in Tel Aviv, Israel Tel: (00-972) 0544576028 E-Mail: nir_evron@yahoo.com Education: 2005 MFA Fine Art Media Department, Slade School of Fine Art, UCL, London 2001 BFA Photography and Media Department, Bezalel Academy for Art, Jerusalem 1999 Ecole Nationale Superieure Des Beaux-Arts, Paris (Atelier Jean-Marc Bustamante) Solo Exhibitions: 2008 Generator, The Artists` Studios Gallery, Tel Aviv 2007 Serpentine, The Artists` Studios Gallery, Tel Aviv 2006 Herzelia Museum of Contemporary Art, Herzeliya, Israel (curator: Dalia Levin) 2003 Schwartz, The Photographers Gallery, Bezalel Academy, Jerusalem Group Exhibitions and Screenings: 2009 The 2nd Herzeliya Biennial, Israel (Curated by Picnic Magazine) Our Time, Small Box 28, Centro Hospilatar Psiquiatrico de Lisboa, Lisbon, Portugal Zulu, Nahum Gutman Museum, Tel Aviv (Curator: Tali Tamir) (Catalogue) Hidden Secrets, The Jerusalem Film Festival, Israel (curator: Galit Eilat) Echoes Of Time And Place, The Jerusalem Cinematheque. The Age Of A Different Re-Action, Galerie Davide Gallo, Berlin, Germany 2008 Pulse Miami Contemporary Art Fair, Miami, USA Europa Neurotisch, Petersburg Project Space, Amsterdam, Holland Overcast & Flowers, D&A Gallery, Tel Aviv Visits To (Some)Where, BWA Gallery, Zielona Gora, Poland (curator: Adi Englman) Untamed Paradises, MARCO Vigo & CAAC Sevilla, Spain (curator: Virginia Torrente) The Prize Winners 2007, Haifa Museum of Art (Catalogue) Click-Clack, University of Haifa, The Art Gallery (Catalogue) (curator: Ruti Direktor) Snap-Shot, Ramle Art Gallery, Ramle, Israel Vergescapes, Tivom Memorial Center Gallery, Tivon, Israel. 2007 Passage, Video Art screening at the Artistsʼ Studios Gallery, Tel Aviv 2006 The Third Generation, Minshar Gallery, Tel Aviv We Are So Much Better Than This, Studio 27, San Fransisco. USA The Impossible Landscape, UMASS Gallery, Amherst, USA (curator: Mark Godfrey) VideoZone 3. The International Video-Art Biennial in Tel Aviv, Israel Black-Implication Flooding, Colony Gallery, Birmingham, U.K Cortisane - Short Film, Video and New Media Festival, Ghent, Belgium Athens Video Art Festival, Greece 2004 SNAP! Diorama Gallery, London 2003 Artik 5, Ramat Gan Museum of Art, Israel 2002 Florocent 5, Florocent Gallery, Tel Aviv Collapse, Bezalel Gallery, Tel Aviv. Awards and Scholarships: 2008 The Tel Aviv Museum ʻSam Givonʼ Prize for Young Artist. Video Art Fund, Center For Contemporary Art, Tel Aviv, Israel 2007 Israel`s Minister Of Culture Prize for Young Artist, 2005 Video Art Fund, Center For Contemporary Art, Tel Aviv, Israel 2005 Project Award, Slade School of Fine Art, London 2004 The Thomas Scholarship, Slade School of Fine Art 2003 America Israel Cultural Foundation Award for Young Artist Collections: Amos Schocken `Haaretz` Publishing Group Collection Private Collections - Tel Aviv Private Collection - Zurich Teaching: 2005-Present The Photography Department, Minshar Art School, Tel Aviv 2007-Present The Photography Department, Bezalel Academy of Art, Jerusalem, Israel 2009-Present Hamidrasha School of Art and Education, Beit Berl, Israel

`Tonight’s programme` toys with history to construct a new realm in between, merging Duke Ellington’s 1963 performance at Khuld hall in Baghdad with Saddam’s bloody coup in the same space 16 years later. Eyal creates a fictional space to provide a different history and a different world for those victims in the hall, a gate of annunaki through which the dead and lost can reclaim their place. “Don’t let anyone kill your daughter in the underworld. don’t let your precious metal be alloyed with the dirt of the underworld. don’t let your precious lapis lazuli be split there with the mason’s stone. don’t let your boxwood be chopped up there with the carpenter’s wood.” – Words by inana of the underworld, the land of no return.

Ali Eyal`s (b. Baghdad, 1994) work spans across different media. He holds an undergraduate degree from the Institute of Fine Arts in Baghdad. His work explores the complex relationships between community and politics using different media such as video, photography and painting, in order to examine social attitudes, particularly in the context of Baghdad and Iraq. Eyal has exhibited in several group shows in Baghdad, Egypt, Lebanon, USA, Greece, and Cuba, among others.

After living together for more than thirty year, a woman decided to leave her husband suddenly. The man sits in grieve contemplating what’s next as he looks back.

After his fellowship at the prestigious LaRochelle Film Festival in 2002, Simo Ezoubeiri directed two short films ( Terrace & Under the table) that both became an international artistic hits, being widely screened in Santa Monica Art Center in Barcelona, LaSala Una in Roma and chosen as the best film of the month by videoart.net editor in New York. In 2007, Simo moved to live and work in Chicago and directed a short thriller “Popcorn” that received The Second Best award by Chicago Filmmakers. Between 2009 and 2014, Simo received wide acclaim for his film trilogy (The Daily Show, Inner Marrakech and A Day in Life). These projects were a representation of artistic themes on experimental films particularly his portrayals of the Marrakech he knows and loves. In June 2015, He wrote, edited and directed his first narrative film “Ladder”. The film has already received accolades in accomplished film festivals such as les Inattendus Film Festival in Lyon, Wiper Film festival in New York and Goldensun festival in Malta.

Following the likes of the experimental/avant-guard cinema, from Dziga Vertov, to Jean Vigo or Jonas Mekas, the video-artist wanders between heaven and earth in a summery Rome with his superzoom camera in his hand observing and spying – from huge distance – stars, planets and the diverse humanity that lives, photographs, and roam through the city.

Italian multi-disciplinary artist between Rome and Berlin, with a PhD in philosophical anthropology and life sciences, a master’s degree in journalism and a master’s degree in “philosophical counseling”. Over the years I have worked on various projects related to the creative fields (TV author, film distribution, music festivals) and online journalism (Dazed Digital, Huffington Post). In 2014 I created goodshortfilms.it, the first Italian platform entirely dedicated to short films. In 2017 I am co-author and co-producer of the documentary film ALBE – A Life Beyond Earth (80’), directed by Elisa Fuksas. In 2018 I wrote, directed, and produced my first shortfilm Microcosmo (exp. docudrama, 15’), an experimental docu-drama in competition in various festivals in Italy and abroad (Special Mention delivered by Fondazione Cinema per Roma for the UNESCO Creative Cities International Contest “The Ideal City”). In the same year, Macrocosmo (videoart, 8’) was selected in the “Art Foundations and Galleries” section at the 1st Videocittà event in Rome, in collaboration with RUFA – Roman University of Fine Arts, and Fondazione Pastificio Cerere. In December 2018 I opened my first solo show entitled “Where is my sacred?” inaugurating the new underground spaces (Spazio Molini) of the Pastificio Cerere Foundation in Rome. My artistic statement: here My obsession: memes My motto: “The actions of men the best interpreters of their thoughts” – J. Locke

This ethnographic excursion is a feast for the eyes paced by the quotidian chorus of sounds in a Chiapan village. Gradually, political themes arise. As it relates the legacy of co-director Saúl Kak's refugeed forebears, (((((/*\))))) (AKA echoes of the volcano) gives voice to the Zoque struggle for Indigenous sovereignty, against the neoliberal state.

Saúl Kak is an internationally acclaimed painter and native speaker of Zoque whose art practice is dedicated to the "cosmovisión" and rights of his people. The son of campesinos who fled the eruption of Chichonal volcano in 1982, Saúl directs the art residency program at Galería MUY, a contemporary art center for Indigenous art and artists. Charles Fairbanks is a filmmaker, writer, and Guggenheim fellow whose films have screened on POV and at Anthology Film Archives, CPH:DOX, Visions du Réel, and over 100 other festivals on six continents. Together, Fairbanks and Kak strive to document the Zoque people’s modern challenges and unique worldview: this cosmovision. Their previous film THE MODERN JUNGLE was picked by multiple critics as one of the best Latino films of 2016; it was awarded Best Documentary at Présence Autochtone: The First Nations Festival of Montreal, and jury awards at Slamdance and Athens.

Song for Being Alone is a one shot video-performance where sounds and images are brought together within a physical place- no digital editing technique was used. In this space-related performance the sound builds up subtly along a mysterious corridor. The camera discovers this rather unusual place but also plays the role of the listener. The path it follows activate and pass by the sound. Space and distance create a unique sound piece - bounding together both mediums of sound and video in a unique perceptive experience.

Mélissa Faivre, born 1989 in France, is an experimental video artist based in Berlin. Her contemplative and mesmerising work seeks to provoke questions on the nature of perception. Exploring notions of movement, repetition, performance and memory, she creates images that present blended and distorted realities that seek to test the temporal and spatial co-ordinates foundational to the perceptive experience. Mélissa’s videos demand an active viewer prepared to engage with the images she presents. Guided by aspects of performance and action, her films reject easily apparent and conventional narrative structures in favour of a visual-poetic experience in itself.

The Drosophila fly is a perfect model for life in the laboratory, mass-produced to mass-produce knowledge. It lives, dies and loves in the cylinder of a plastic tube. In a larger box, in a research centre for animal behaviour, humans conduct astonishing experiments with these insects. Witnessing these experiments, our perception of these familiar animals is gradually transformed.

Maud Faivre (1986) Maud Faivre lives in Brussels. Her photographic projects focus on the work of others (Les villes invisibles, with archaeologists), the landscape of medium-sized mountains (Transjurassienne) and birds (Birding). She regularly works with architects and landscape architects on long-term projects, and responds to public commissions involving landscape and architecture. For the last ten years she has accompanied students from Le Septantecinq school in Brussels - where she studied - to the Cantal region to photograph the landscape, the buildings, the people and the countryside. Animal model, co-directed with Marceau Boré, is her first film. Marceau Boré (1986) As a musician and sound recordist, Marceau Boré was introduced to ornithology through his encounters with naturalists. He left the studio and concert halls to try and capture the sounds of his environment and recreate soundscapes. This is how he came to create films for the documentary industry, and how he began his collaboration with photographer Maud Faivre, together surveying landscapes and meeting the people who defend them. Together, they made their first film with ethologists, behind closed doors, in a CNRS fundamental research centre studying the behaviour of social insects.

Greetings from Kosovo 1989 (2025) nSingle-channel video, (DV Pal 4:3), 13:39 min. Greetings from Kosovo 1989 deals with archive footage from the 1989 gathering in Kosovo, made famous by Slobodan Miloševi?’s speech. Addressing a crowd of over a million, he spoke amid rising ethnic tensions in Kosovo and growing political unrest in Yugoslavia. His mention of “armed battles” in Serbia’s future has made this speech infamous, often seen as foreshadowing the Yugoslav Wars. Reframing and subverting the format of a TV reportage, the work emphasizes the mass hysteria, madness, and banality of nationalistic and religious iconography. In light of recent world events, revisiting this episode—an inseparable part of the history that profoundly marked the end of the 20th century—is a crucial gesture, as this history remains very much alive.

Bojan Fajfri? (Belgrade, former Yugoslavia) is an artist and filmmaker based in the Netherlands since 1995. A graduate of the Royal Academy of Fine Arts in The Hague and former resident at the Rijksakademie in Amsterdam. Working primarily with moving images and photography, he creates layered narratives that reflect on history’s impact on individual lives. His interest lies in the porous relationship between memory and the moving image. His work has been presented at institutions such as Palais de Tokyo (Paris), Baltic Centre for Contemporary Art (Gateshead), San Telmo Museum (San Sebastián), De Appel (Amsterdam), the Belgrade October Salon, NGBK (Berlin), and the Center for Cultural Decontamination (Belgrade). His films have screened widely at international festivals including the International Film Festival Rotterdam, International Short Film Festival Oberhausen, Vienna International Film Festival, DOK Leipzig, Sharjah International Film Festival, Tempo Documentary Festival (Stockholm), Rencontres Internationales Paris/Berlin/Madrid, and Impakt Festival (Utrecht).

On September 24th 1987, the Serbian League of Communists in the former Yugoslavia held its 8th Session. The 8th Session was a meeting in which Slobodan Milosević won a significant vote over his main political rivals on his rise to power. The whole event was broadcast live on Yugoslav television. The 8th Session was an historical turning point, starting an era of ethnic conflict which ultimately lead to the break-up of Yugoslavia . Theta Rhythm is a meticulous reconstruction of that day, from the perspective of one of the administrators of the 8th Session, Mirko Fajfrić. Mirko is interpreted by his son Bojan Fajfrić, the director of this film.

Bojan Fajfrić was born in 1976, in Belgrade, Yugoslavia. His professional development has not been linked to Yugoslavia, which he left in 1995, when he went to study visual arts in the Netherlands. He graduated from the Royal Academy in The Hague and was the resident of the Rijks Academy in Amsterdam. However, in his works he has always referred to the country he grew up in, its political inheritance, as well as other social circumstances. His work presents a certain way of looking at history, one which stands at the intersection of personal memories, collective historical consciousness and the inevitable course of events. He uses mostly video installations as a form of expression. His works have been exhibited in many art galleries/spaces and museums: the Salon of the Museum of Contemporary Art, Belgrade; the Tirana Contemporary Art Biennial; De Appel, Amsterdam; MUHKA, Antwerp; Tim Van Laere Gallery, Antwerp; ARCUS, Japan; Spaport, Banja Luka, October Salon, Belgrade. Film Theta Rhythm was shown at the International Film Festival Rotterdam, International Short Film Festival Oberhausen, Seoul international NewMedia Festival, Viennale-International Film Festival Vienna, Human Rights Film Festival PRAVO LJUDSKI Sarajevo, Noordelijk Film Festival Leeuwarden, Impakt Festival Utrecht and Film Institute Netherlands.

``He has no coherent idea of himself, but all that he remembers is somehow connected to the city, although he has never lived, nor was born in the city, nor did he die in the city, or anybody else, as far as he knows. `` (Georgio Manganelli) Documentary scenes of wartime Osijek and a sound recording of Fritz Lang`s M create a macabre portrait of the city devastated by irrational forces and an invisible killer.

Born in Crnac (Croatia) in 1953. He is working on experimental film, photography, video, and video-installations. From 1975 to 1977 he was the editor of The Film-lovers panel in Osijek, than went on to direct film program of the Students` Centre (1981-1988), and since 1992 he has been the editor of the film program of Osijek Cinema. He has been shooting films and video works since 1975. Since 1979, he has regularly participated in conceptualist activities and exhibitions, held video and film performances, built installations and made multimedia presentations. In 1995, he participated at the Venice Biennale (A Case/At Home2), and in 2002, he represented Croatia at the 25th biennale in Sao Paolo. He won numerous awards, including the Grand Prix at 11th Days of Croatian film, the 2002 "Vladimir Nazor" award, and the Grand Prix of the 39th Zagreb salon in 2005. He was the founder and manager of the "Kazamat" gallery in Osijek (2001-2004) and organizer of the Performans art festival since 2001. Lives and works in Osijek.

Kangaroo Court is the second part of the multimedia reconstruction of the sequence from Fritz Lang`s famous movie M (1931), which began with the photographic replica of the scene of the illegal trial of the psychopathic murder in Berlin underground. In the first phase, the Berlin half world was revived by two hundred costumed actors, rounded up in a devastated former Zagreb factory. Two film cameramen kept a look out on the process of their costumed retro-initiation to Lang`s universe, which was in the film ?reconstruction of reconstruction? additionally underlined by the counter-point of documentary material and fragments from the sound track with dialogues from M.

Born in Crnac (Croatia) in 1953. He is working on experimental film, photography, video, and video-installations. From 1975 to 1977 he was the editor of The Film-lovers panel in Osijek, than went on to direct film program of the Students` Centre (1981-1988), and since 1992 he has been the editor of the film program of Osijek Cinema. He has been shooting films and video works since 1975. Since 1979, he has regularly participated in conceptualist activities and exhibitions, held video and film performances, built installations and made multimedia presentations. In 1995, he participated at the Venice Biennale (A Casa/At Home2), and in 2002, he represented Croatia at the 25th biennale in Sao Paolo. He won numerous awards, including the Grand Prix at 11th Days of Croatian film, the 2002 "Vladimir Nazor" award, and the Grand Prix of the 39th Zagreb salon in 2005. He was the founder and manager of the "Kazamat" gallery in Osijek (2001-2004) and organizer of the Performans art festival since 2001. He lives and works in Osijek.

?Pusta? or wasteland (aftre the Hungarian word ?puszta?), designates a spacious, level steppe in Hungary; it is a spacious, lever terrain which is not worked, but used for raising livestock, horses and pigs in the open. The puszta is a form of organised, planned, collective habitation, specific to Hungary, Slavonia and Baranja, constructed in 18th and 19th centuries on the nedless Slavonian plains owned by well-to-do aristocratic families. The wasteland was always inhabited by those who had no land, settlers, rstless spirits, wanderers unable to stay in one place, but there were those who stayed in the wasteland for generations. The film was shot by hand-held camera, and is all in subjective takes. The main ?character? in the film is light. Light reveals characters and objects, without care for the composition of the shot ou using artificial lighting. Simultaneously with the shooting of the refraction of light, the spreading ? ringing of sound is recorded. And the most important ? silence, because in the wasteland, on that ?island? with no visiable boundary between the sky and the eart, in that prison with no fences, silence is louder than the noise of any city.

Faktor was born in Crnac, Slavonia, in 1953. He deals with experimental film, photography, video and video installations. He has shot films and subsequenly videos ever since 1975. Since 1979 he has taken part in conceptualist actions and exhibitions, film and video performances, mounted installations and done multimedia shows. In 1995 he took part at the 46th Venice Biennale (A Casa/At Home 2) and in 2002 was representative of Croatia at the 25th Biennial in Sao Paolo. He has won numerous prizes and awards, including the Grand Prix at the 11th Croatian Film Days, 2002, the annual Vladimir Nazor Prize for film, 2002, and the Grand Prix of the 39th Zagreb Salon, 2005. From 1975 to 1977 he was the editor of the panel of the Film Lovers Club in Osijek; from 1981 he ran the film programme at the Student Centre, and from 1992 to 2006 was the editor of the film programme of Osijek Cinematography. He is the founder of the Kazamat Gallery in Osijek and managed it from 2001 to 2004, and has run the Performance Art Festival since 2001. Since 2001 he has been the director of Osijek?s City Galleries. He lives and works in Osijek.

Ivan Faktor decided to visualize his state with Parkinson's disease with a mobile phone camera. After 50 years of filmmaking, his passion for art and life persists. He is filming himself, his wife, the yard, the street, the studio, and the light attractions in his house. Faktor records everyday life but disrupts the daily structure by intervening in reality, using light or optical obstacles like his trembling fingers. Through interventions in documentary situations, he creates a surprising inner world of an artist imprisoned in space.

Ivan Faktor is a Croatian avantgarde artist. He is engaged with experimental film, photography, video and video installations. He has been shooting films and video works continuously since 1975. Since 1979, he has been participating in conceptualist actions and exhibitions, performances with video and film and setting up installations. He participated in 1995 at the 46th Biennale in Venice (A Casa/At Home 2), and in 2002 was the representative of Croatia at the 25th Biennial in Sao Paulo. He received numerous awards, both for his visual art and films.

Ivan est professeur à la retraite. Il a connu la lutte armée dès l’âge de 13 ans. Il n’en parle jamais. Fabrice, son fils, est musicien et poète improvisateur connu sous le nom de Fantazio. Un gouffre semble séparer les deux hommes, mais lorsqu’ils montent ensemble sur scène, tandis que l’un joue de la contrebasse, l’autre retrouve ses talents d’orateur et le plaisir qu’il a connu au lycée de parler en public. Une caméra s’invite entre eux, comme pour mieux résoudre des énigmes enfouies. Mais Fantazio butte sur son projet : emmener Ivan à Bruxelles pour y visiter l’un de ses vieux compagnons de résistance. S’en suit un voyage, au travers un temps compté, parfois fait d’éternité.

Fantazio est né Fabrice Denys en 1972. A douze ans il se muni d’une contrebasse et crie ses fantômes en rejoignant les guerriers urbains du mouvement punk. Depuis il réalise six album, multiplie les rencontres artistiques et se produit en concert dans des scènes underground à travers l’Europe.Il parle de plus en plus dans ses concerts jusqu’a l’écriture d’un monologue autobiographique qu’il produit sur des scènes de théâtre, sans musique. Frédéric Mainçon est né en 1972 D’abord chef opérateur sur des fictions et des documentaires, Il se rapproche de l’art contemporain et contribue à fabriquer des images pour des plasticiens. Depuis 2005 il réalise des films documentaires. Par ailleurs musicien, ses sujets de prédilection sont la musique, les rapports filiaux, le déni, la dénégation, le post-colonialisme.

Knocks on the door couldn't tell what was hiding behind it... I wish I was dead, dying between their hands, before fear got the better of me.

My name is Mahmud Farag, I am 28 years old, from Alexadria, Egypt. In 2005 I graduated from the faculty of Education in Arabic Language and Education at Al-Azhar University in Cairo. My interest in cinema started when I was a teenager but as a student in Al Azhar school I was not allowed to study cinema. So, in these years I cultivated my passion for cinema by reading and watching movies, and attending workshops (Script writing workshop at French Cultural Centre in Alexandria, 2004). In 2005 I made my first digital video experiment, which is film Fabrica, based on the debut poetry collection Bel-Amsy Faqadtu Zirran (Yesterday I Lost A Button) written by the Alexandrian poet Tamer Fathy (Sharqyat, Cairo, 2005) In 2006 I wrote and directed the film Kurras Kharayt (Blank Note), which tells about the inner thoughts of an intellectual, his relation with girl-friend and his friends, and his inner conflict with himself and the society.Both the films are mini-dv, their duration is 15 minutes and have been shown in Cairo and Alexandria in the Cinema Cultural centre, Syndicate of Journalists and at the Indipendent Film Cairo Festival. In 2006 I enrolled the High Cinema Institute and I obtained my second degree in Scriptwriting and Cinema Studies in 2010. During this four year study period I wrote and directed some documentaries (Nubat Sahyan (Sudden wake) and Al-dar darak (The center is yours). I also wrote scripts for the graduation movies of some students from the direction department in the academy. My last scriptwriting work is "Pale Red", which has been awarded with many prizes inside and outside Egypt ( Best short film prize for in Alexandria International Film Festival (2010) - Best short film prize in Carthage Film Festival, Tunis (2010) - Best short film prize in Kazan International Film Festival, Russia (2010)- Best film in the Independent film festival at the French Cultural Centre in Cairo, 2011). In the last year I also worked as Assistant Script-writer of Dr. Rafiq El-Sabban for the next-coming film As-Samt (The silence) and for the next-coming series Akhir Ayyam Ghrnata (The last days of Granada). This year, I also had a very interesting experience from my work as assistant with two photographers. The first one wanted to meet the new generation of the revolution, the youth of the new Cairo. My second work was about the families of the martyrs of the revolutio. Beside my interest in cinema, I also have a passion for visual arts. Painting, to me, is the unloading extra energy process, and the teacher of patience. Later I started making pieces of arts from old garments and unused plastic pieces. In May 2010, I was awarded the best painting prize in the ?Funny Nature? artistic competition organized by the association L?Arbre des égrégores, Paris, France.

Just Say NO to Family Values IT, 2006, 4`37? Beat poet John Giorno (b. 1936) is passionately reciting his poem Just Say NO To Family Values (1995). With great determination he is trying to persuade the listener to enjoy life to the full of its potential, and not to be satisfied with anything less. In Giorno?s words, this sounds as follows: `Tobacco is a sacred substance to some, and even though you?ve stopped smoking, show a little respect. Alcohol is totally great, let us celebrate the glorious qualities of booze, and I had a good time being with you.` However, his words are wasted on the frail little woman who is absent-mindedly watching this gesticulating poet, this stranger. She is sitting in front of her shabby dwelling, with the fly curtain sometimes flying up in the wind. In his fashionable clothes, Giorno sticks out like a sore thumb against this decor of simplicity. The woman and the small rural hamlet of Tursi precisely represent all those standards and values which, according to Giorno, we should throw out with the garbage. The region of Basilicata, where Tursi lies, is where his roots are: the origins of this Italian-American poet who, in the 1960s, was part of the New York underground scene and played the lead in Andy Warhol?s Sleep (1963), rubbing shoulders with the likes of William S. Burroughs. John Giorno made it his mission to bring poetry among the people in the spirit of mass production. Antonello Faretta?s lucid images convey in no uncertain terms that Giorno?s passion for poetry is still burning.

Antonello Faretta was born in 1973 in Potenza. He is a photographer, a director and a film producer. He has collaborated with such directors as Abbas Kiarostami, Marco Bellocchio, Saverio Costanzo, Giacomo Campiotti, Peter Del Monte, Babak Payami. He has also worked for Rai,Sat Arte and T9. He has directed numerous films, among which Lei lo Sa,Da Dove Vengono le Storie?,Il Vento, la Terra, il Grasso sulle Mani, 20Venti, Silenced Thoughts, Just Say NO to Family Values. His works have been featured in international film festivals, TV Networks, art galleries and museums throughout the world, and have received prestigious recognitions. In 2002 Faretta founded the independent production company, Noeltan Film, which produces his own works as well as those of young international artists (to this day, nearly 40 films). In 2004 he founded the Atelier del Cinema di Potenza and the Potenza International Film Festival, which he also directs, and for which, in 2006 he received the prestigious Targa per Meriti Culturali from the Italian President, Giorgio Napolitano.

Ellipsis is part of a trilogy called Conic Trilogy, based on an island called Orford Ness off the Suffolk coast. This small island has been the site of a number of activities over the years which touch upon the political and includes scientific research, espionage, international communications, military equipment testing as well as being a First World War prison camp. In making this video work Farhid implemented a mathematical concept based on a geometry of surfaces and curves: Ellipse (from Greek åëëåéøéó meaning ?to come short?). can also be described as the intersection of a plane with a conic surface when the inclination of the plane to the base of the cone comes short of the inclination of sides to the base. Ellipse through its Greek etymology, also has non geo-mathematical characteristics, ?Ellipsis? refers to: ?missing words in a sentence? which would be needed to complete the grammatical construction or fully to express the sense. Conceptually the video takes the form of a set of fragmented narratives, an eclectic mix of images drawn from a range of different sources and collaged together to make a coherent but inconclusive whole. Whilst images filmed on Orford Ness constitute the main structure these are as it were glimpses of the islands usage , its surveillance equipment, idiosyncratic architecture and ground markings where once secret military equipment was tested. Added to this are a range of images that refer to the act of leaving, escaping, migration and transience perhaps a reference to the instability of what might appear as fixed, stable and even autocratic

Nooshin Farhid was born in Tehran, Iran and now lives and works in London. She came to the UK as a political refugee. She has been involved in a number of exhibitions, film festivals and screenings of her video works internationally. Her work is primarily concerned with the moving image, which takes the form of single screen works, installations, interventions and animation. Her video works whilst employing different subjects and scenarios have a connecting thread, a commonality, namely there is a certain kind of agitation, a restlessness and a deliberate disjuncture that ruptures the familiar trajectory of the traditional narrative. This agitation and an unwillingness to settle for what is ?on offer? (this is the way things are) reflects upon the current state of things socially, politically and ideologically. This work continually picks away at those familiar stabilising forces that we encounter on a daily basis both within the social space of the everyday and also within the domain of contemporary art itself. Farhid?s work is eclectic and conceptually nomadic, she uses the camera as a visual notebook collecting fragments of encounters, events and chance meetings. At the same time she appropriates that form of ?making dumb?, the popular media ? soaps, reality TV, Bollywood, MTV. This raw material is savagely and uncompromisingly edited and undergoes a form of post production, collaged fragments are welded together, each one activating and qualifying its predecessor. It is within this approach to her work that her radical position is to be found, her deliberate lack of regard for status, image hierarchy and historical continuity allows for an essentially tangential trajectory to her subject matter.