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

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

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

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

Les microbes is based on the stories of some of the crew members that were told during the filmmaking process and reflects on their situation in an experimental way. They had to flee their homes due to poverty, war and prosecution. Now, after their long journey, they have to persevere and wait. Wait while the world is turning madly.

Matze Görig works at the interface between film, visual arts and sculpture in various contexts and often in the socio-cultural field. His cinematic and digital sculptural works have been shown at various exhibitions and film festivals and as interactions in opera and theater productions (e.g. International Short Film Festival Oberhausen, Hof Film Festival, Karlovy Vary Film Festival, Kunstraum München, Kino der Kunst, Konzerthaus Berlin, Transmediale Berlin, Theater Hannover). Matze Görig writes scripts, edits films and creates sound designs for his own and other artists' works. He has worked as a lecturer in various institutions (UDK Berlin, Kunsthochschule Weissensee, HFF Munich, Schlesische27) Since 2020, he has been the artistic director of theexperimental workspace Falscher Fisch in Berlin-Neukölln, which has set itself the task of inspiring new dialogues through art projects together with young refugees and in cooperation with changing partners

GRAFT proposes an electro acoustic performance involving five musicians. Their basic proposal comprises one piece with the title GRAFTI (?Graftone?). This piece can be qualified as improvised music. The performance may last any time between 20 and 60 minutes, the preferred version being an open duration between 35 and 45 minutes. As an alternative to this single piece performance they can also offer a full-length concert which is similar to the material on CD, which are excerpts and a complete recording of one version performed in May 2005. The presentation format is an electro acoustic ensemble with two players playing acoustic instruments and three players with electronic equipment. This music is amplified and spatialised through eight loudspeakers surrounding the audience totally. GRAFT would be impossible to repeat with different musicians as no precise instructions or documentations exists; only a way of working that is specific to the musicians involved and that has evolved over time. All five musicians have developed their own unique palette of sounds and gestural types. In many way Graft is a reaction to their more usual preoccupations with notations as performers and composers, and a desire for a musical situation that is ?other? to their usual practice. To conclude GRAFT is a rich English metaphor with many interesting meanings, which all of them are applicable to their musical intentions. GRAFT refers to the process where one plant is inserted in another to form a new growth, it is also a surgical term where living tissue is taken from one part of the body and applied to another to replace damaged tissue. It also means to induce union between living materials that are normally separate, and this can be said to apply to electronic and acoustic sounds as well to the more usually distinct roles of composer and performer in western music.

GRAFT consists of the following musicians : Sam Hayden - computers Urs Liskea ? computers, synthetisers Daniel Hjorth - computers Glenn Larsson - percussions Carl Rosman - clarinets The GRAFT improvised music project began during an artistic residency at the Academy Schloss Solitude in Stuttgart during 2002. GRAFT first performed at the 2002 KlangRaum experimental music festival in 2005, in association with Musik der Jahrhunderte. GRAFT essentially involves the combination of improvising acoustic and electronic instruments with live computers processing and sound spatialisation techniques using Max/MSP and others? GRAFT began in 2002 as a quartet with composers Sam Hayden and Daniel Hjorth, composers/pianist Urs Liska and clarinettist Carl Rosman. In 2003 GRAFT used the same three composers with percussionist Glenn Larsson as an alternative/additional instrumentalist. The project now consists of all five musicians.

"Rotations and frame divisions" is a video created by systematically rotating a camera following a set of graphical instructions drawn in a notebook. The resulting footage, displayed on the camera's LCD screen, depicts failed attempts at precise and mechanical movement.

Michael Graham is a Canadian artist whose artwork and research is concerned with the relationship between technology, theories of representation, and human nature. His artwork has been exhibited at galleries and festivals in Canada, Europe, and Asia. Michael is currently based in Sheffield (UK) and lectures in multimedia and communication design at Sheffield Hallam University, where he is also in the process of completing an MA, incorporating both research and fine art practice.

Graham produced this short video for the 2006 Sao Paulo Biennale, to accompany an architectural model of his Yin/Yang Pavilion at MIT in Cambridge, Massachusetts. According to MIT, Graham`s 2002 Yin/Yang Pavilion "is made of concave and convex two-way mirrored glass -- a material that creates constant fluctuations between transparency and reflection. The pavilion is activated by viewers who move through its curving spaces to experience anamorphic reflections of the sky, surrounding objects and landscape, and the superimposed images of other spectators. `The observer becomes conscious of himself as a body, as a perceiving subject and of himself in relation to his group. This is the reversal of the usual "loss of self" when a spectator looks at a conventional artwork,` Graham said."

Since the mid-1960s, Dan Graham has produced an important body of art and theory that engages in a highly analytical discourse on the historical, social and ideological functions of contemporary cultural systems. Architecture, popular music, video and television are among the focuses of his provocative investigations, which are articulated in essays, performances, installations, videotapes and architectural/sculptural designs. Graham began using film and video in the 1970s, creating installation and performance works that actively engage the viewer in a perceptual and psychological inquiry into public and private, audience and performer, objectivity and subjectivity. Restructuring space, time and spectatorship in a deconstruction of the phenomenology of viewing, his early installations often incorporate closed-circuit video systems within architectural spaces. The viewer`s perception is manipulated and displaced through such devices as time delay, projections, surveillance and mirrors. In installations focusing on the social implications of television, as articulated in private and public viewing spaces, Graham refers to video`s semiotic function in architecture in relation to both window and mirror. Graham has also published numerous critical and theoretical essays that investigate the cultural ideology of such contemporary social phenomena as punk music, suburbia and public architecture. Graham was born in 1942. He has published numerous critical essays, and is the author of Video-Architecture- Television (1980). His work is represented in the collections of numerous major institutions in the United States and Europe, including Moderna Museet, Stockholm; Centre Georges Pompidou, Paris; and The Tate Gallery, London. He has had retrospective exhibitions at Van Abbemuseum, Eindhoven, Holland; Museum of Modern Art, Oxford, England; The Renaissance Society, University of Chicago; Kunsthalle, Berne, Switzerland; and the Art Gallery of Western Australia, Perth; and has been represented internationally in group exhibitions at Documenta 7, Kassel, Germany; Art Institute of Chicago; Stedelijk Museum, Amsterdam; P.S. 1, New York; American Film Institute National Video Festival, Los Angeles; and The Museum of Modern Art, New York, among other festivals and institutions. Dan Graham lives in New York.

An unknown entity, discovers the human world in a nocturnal car ride through Los Angeles, observing people at the side of the street and listening to their stories. The film mixes the journey of a fictional character, an unknown entity played by drag performance artist Beaujangless, with documentary roadside encounters in a nocturnal car ride through the ‚City of Angels’. Observations of people passing by, accompanied by an AI-generated voice-over reciting first-person narratives from interviews, intertwine with sequences of the main character dancing to Holly Herndon‘s song ‚Frontier‘. The film explores narratives as both center and limit of human world experience and self-awareness, the concept of an immortal human soul in neo-religious, dataist times, as well as the USA as a collective narrative of capitalist superiority in decay. ‚Because We Bleed‘ is a meditation on storytelling and a poetic journey into a new, dark age.

Andrea (born 1986, Rostock, Germany) is a non-binary artist and director. Joscha (born 1984, Stuttgart, Germany) is an artist and director. Since 2009, the two have been working as a duo. They hold a diploma in photography and media from the University Of Applied Sciences Bielefeld (2006-2012). Their collaborative work revolves around people and the narratives in which they are captured. This results in non-linear stories evolving from anthropological field research and artistic subversion. Their photographs and films are exhibited and showcased internationally. Both live and work in Berlin.

This video is produced from different VR Painting I produced about Ukraine Cyber war as an ex member of IT Army of Ukraine, by using different AI images produced on the basis of the real Ukraine war one, by using also different logs from my Hacktivism with IT Army to support Ukraine. The point is to define a kind of mental cage, because a cyber war is mostly a mental war than a physical one.

Born in 1967, Valéry Grancher is a French-born artist, theorist, curator and lecturer, living and working in Paris and Hong Kong since 2014. He first became well known in the mid-1990s for being one the first net artists (online art) and for his ‘Google paintings’ but his artistic practice is vast and covers internet art, video, photography, painting, AI painting and VR installation. Valéry Grancher is an explorer. His curiosity leads him to investigate all kinds of territories such as the different media and new technology to define new forms and concepts. On 2014, the French public collection National Fund for Contemporary Art, National Centre for Visual Arts (FNAC) acquired his video installations Geopol (a 24-hour tracking shot of the horizon at the North Pole) and Tanguntsa (a 6-hour shot in deep Amazonia). His productions are included in several public collections such like Cartier Foundation for contemporary arts (Paris), Maison Européenne de la photographie (Paris), Carillo Gil Museum (Mexico), Berkeley Art Museum Pacific Film Archive (Berkeley), ZKM (Karlsruhe), Bandjoune Station (Cameroon), VMAC (Hong Kong) and many others…

The film Light my fiction is based on images shot on Coney Island, a peninsula just off New York once famous for its legendary amusement park. These images are accompanied by macroscopic shots of the inside of video-game consoles such as the Sony Playstation and Atari 2600. Two diametrically opposed forms of the entertainment industry are thus juxtaposed here: amusement parks (those sites of pilgrimage for fans of thrills and ?life-size? rides) versus personal video games (designed for home use). The contrast of these two forms of entertainment, born of different generations, sheds light on the ?advances? made by the entertainment industry. However, Grandmaison?s pictures do not celebrate the technical prowess of these machines, nor do they even show them in action; instead, Grandmaison dwells on the halted rides, disused, worn and tarnished by time, while the game consoles represent an outmoded, old-fashioned generation already gathering dust, replaced by more sophisticated technology. Compared to amusement parks, playstations nevertheless represent a considerable change in the way entertainment is experienced. Whereas people used to gather to have fun together on huge outdoor rides, the emergence of game consoles has privatized entertainment, consigning it to living rooms and bedrooms. Video games have literally shut down amusement parks, leaving them to rot. Victims of their own success, these video games were soon relegated to ?dinosaur? status themselves, replaced by new, superfast equipment. Light my fiction thus functions like a vanitas of the entertainment world. All things must come to an end, to be replaced by something better as human beings constantly seek something new. The world flows on ? like time (and like the projected images themselves) ? leaving the vestiges of a past era in its wake. Kevin Muhlen Director Casino Luxembourg

Pascal Grandmaison, born in1975, lives and works in Montréal. He holds a degree in visual art from UQAM (Montréal). He is known for the contemplative themes of his large-scale photographs and works in film and video. Capturing a psychological complexity through a minimal and detached view, his diverse subjects range from pensive portrait images to deep meditations on the legacies of modernist architecture. Pascal Grandmaison has exhibited extensively in Canada and Europe. He had numerous solos shows at Galerie René Blouin (Montréal), Jessica Bradley Art + Projects (Toronto), Carleton University Art Gallery (Ottawa), Art gallery of Hamilton, Galerie Georges Verney-Carron and Galerie BF 15 (Lyon, France), Contemporary Art Gallery (Vancouver), Galerie B-312 and Espace Vox (Montréal). In 2010, he had an important solo exhibition at Casino Luxembourg - Forum d?art contemporain (Luxembourg) in 2006, the Musée d?art contemporain de Montréal that has toured to the National Gallery of Canada. He has also been included in group exhibitions at the Musée national des beaux-arts du Québec (Québec), Montreal Museum of Fine Arts, Vancouver art gallery, Edmonton Art Gallery, Museum of Canadian Contemporary Art (Toronto), the Jack Shainman Gallery in New York, Casino Luxembourg - Forum d?art contemporain (Luxembourg), as well as the Prague Biennial 2005. He is represented by Jack Shainman Gallery, Galerie René Blouin, Montreal and Jessica Bradley Art + Projects, Toronto. www.pascalgrandmaison.com 

Soleil différé thrusts us into the ghostly world of the Canadian islands of Sainte Hélène and Notre-Dame, sites of the Universal Exposition hosted by Montreal in 1967. Being an ambitious, extravagant showcase for technological advances of the day, a universal exposition always represents a major event for the host country, on the same scale as the Olympic Games, for example. In anticipation of this event, Sainte-Hélène and Notre-Dame were considerably enlarged, indeed created from scratch with the rubble from excavations for the Montreal metro system, then under construction. The site symbolized the utopian aspirations of a period when ?man-made? rhymed with ?progress,? with the future, with human supremacy. Expo 67 was a huge success, and on the crest of this wave the mayor of the day, Jean Drapeau, decided to keep the site open under the name of Man and his world, recalling the title of Expo 67. The theme park closed for good in 1981, however, due to lack of business. Born in 1975, Grandmaison never experienced the heyday of Man and his world; rather, he witnessed its decline. Today the site still bears the stigma of its past and functions as a recreational park. It includes strange-looking, neglected features of Man and his world along with natural overgrowth that is steadily superseding manmade nature.

N`ayant pas vécu l`Exposition universelle 1967 à Montreal, nous ressentons une sorte de vertige entre ce que l`évènement évoque aujourd`hui et l`absence de vestiges qui en témoignent. Une impression de vide qui nous incite à scruter attentivement le site de l`exposition universelle à la recherche d`indices révélateurs de son passé. L’image d`une archéologie matérielle inspiré de Walter Benjamin qui recherche dans la matière, les débris et les laissés pour contre, les traces d`une histoire qui émanerait jusqu`à nous. Pour tenter de cerner l`ampleur de ce décalage, nous nous sommes intéressés aux facteurs d’apparition et d’éffacement révélateurs des contradictions du site et de son histoire : la succession de déplacements de matière, d`additions et d`extractions, qui sont à l`origine de la création des îles Sainte-Hélène et Notre-Dame. La transformation radicale de la forme de l`île Sainte-Hélène, la dissolution de sa configuration ancienne et son artificialité actuelle, nous est apparue comme l`objet privilégié de notre désir d`en comprendre la portée actuelle. Les mouvements de remblais et de déblais de la matière sont transposés, dans le montage des séquences filmées, par la juxtaposition alternée d`une action performative et son contraire. Un jeu incarné par la confrontation de notre interprétation personnelle comme duo d`artistes. La réciprocité entre la spontanéité du geste de l`un et la transcription du cadrage de l`autre. " Il ne suffit pas que tout commence, il faut que tout se répète, une fois achevé les cycles des combinaisons possibles" Causes et raisons des îles désertes G. Deleuze

Pascal Grandmaison (1975-) est un artiste canadien qui vit et travaille à Montréal. Sa pratique explore les façons dont les images influencent la perception et la compréhension du concept de l’infini. Son travail fait l’objet de nombreuses expositions individuelles et collectives, incluant Expo 67 au Musée d’art contemporain de Montréal (2017), Intersections: Contemporary Artist Films au Audain Art Museum (Whistler, 2016), Installations au Musée national des beaux-arts du Québec (Québec, 2016), All membranes are porous à la Kamloops Art Gallery (2016) et La vie abstraite I à la galerie Diaz Contemporary (Toronto, 2015). Ses oeuvres filmiques sont présentées internationalement, notamment à la galerie Power Plant (Toronto, 2016), à la Haus de Kulturen des Welt (Berlin, 2014), au Palais de Tokyo (Paris, 2014) et au Centre Georges-Pompidou (Paris, 2011). Il est représenté par la Galerie René Blouin (Montréal) et la Galerie Eponyme (Bordeaux). Marie-Claire Blais vit à Montréal. Diplômée en architecture, elle se consacre à temps plein aux arts visuels. Ces dernières années elle a entrepris la production d`un ensemble d`oeuvres qui chacune à leur manière active les différentes façons que nous appréhendons forme (s) et espace et les organisons dans notre mémoire perceptuelle. Diffusion et diffraction de la lumière articulent un espace entre le spectateur et sa mise en action, délimitant le seuil entre eux, offrant une voie d`accès. L`artiste a présenté plusieurs expositions personnelles à la Galerie René Blouin de Montréal. Son travail a figuré dans des expositions au Canada et au Mexique, incluant, à la recherche d`Expo 67, Musée d`art contemporain de Montréal (2017), Road Wall Door, Diaz Contemporary, Toronto (2016), L’oeil et l’esprit, Musée d`art contemporain de Montréal (2015), Projet HoMa, Fondation Guido Molinari, Montréal (2013). Elle prépare pour novembre 2017, Entrouvrir, entrevoir, enclore, une exposition solo au Centre culturel canadien à Paris et Buveurs de Quintessences, une exposition collective à la Fonderie Darling (2018) et au Casino du Luxembourg (2019).

The theme of Meurtrière is Das Ding. Das Ding is senseless, insane, intolerable, hysterical, grotesque, phobic, dangerous, brutal, consuming, wild, sexual, unpredictable, staggering, frenetic, atrocious, anxious, frightening,ecstatic, desirable, vulgare, perverse, embarrassing, shameless nervous, obscene, sacred, furious, murderous. But first, without intention. With dancers: Émilia Giudicelli, Vilma Pitrinaite, Hélène Rocheteau, Francesca Ziviani.

Un pays dont on ne sait rien, au c?ur de l?hiver. Des forêts immenses, une maison isolée, un lac qu?il faut traverser pour y parvenir, une famille coupée du monde et tragiquement unie par l?amour, surtout celui qui dévaste le frère et la s?ur. Un étranger arrive?

Philippe Grandrieux est un réalisateur français né en 1954. Il fait des études de cinéma à l`INSAS puis se lance dans la réalisation de fictions et de films documentaires. Philippe Grandrieux commence à travailler sur la scène expérimentale belge où il monte des installations vidéos. A partir des années 1980, dans le cadre de l`atelier de recherches à l`INA, il invente des formes et des formats qui mettent en question le documentaire, l`information, l`essai - donc certains des fondements de l`écriture audiovisuelle. En 1990, il lance l`atelier Live qui produit des plans séquences d`une heure commandés à des artistes comme Thierry Kuntzel, Robert Kramer ou Robert Frank. Il a aussi enseigné ponctuellement à la Femis et à l`Ecole Nationale Supérieure des Beaux-Arts de Paris. L`?uvre de Philippe Grandrieux s`étend sur de nombreux territoires : expérimentation télévisuelle, art vidéo, film de recherche, essais documentaires, installations. Son exigence artistique le mène à pousser chacun de ses domaines à leurs limites et se montre constamment inventive et radicale. Ses deux premiers long métrages, Sombre (récompensé au festival de Locarno) et La Vie nouvelle, font référence en termes de photographie, de travail sur le son, d`expérimentation narrative et figurative. Dans la lignée de Teinosuke Kinugasa, Jean Epstein ou Pier Paolo Pasolini, qui ont cherché et inventé des formes narratives propres à la cinématographie, les films de Philippe Grandrieux offrent des expériences sensorielles intenses, au croisement du cinéma de genre et des formes du cinéma expérimental, pour stimuler l`investissement psychique du spectateur. Sur des trames narratives pourtant linéaires voire sérielles, avec une iconographie tissées d`archétypes renvoyant à des images archaïques (souvent le conte, la légende), les films de Philippe Grandrieux déploient un monde d`énergies, ancré dans les sensations et les affects. Pour ses bandes-sons, Philippe Grandrieux a travaillé avec Alan Vega (pour Sombre), et avec le groupe de poètes, performers et musciens Etant Donnés (pour La Vie nouvelle). Le scénario de La Vie nouvelle a été co-rédigé avec l`écrivain Eric Vuillard, devenu depuis réalisateur. Une partie de leur correspondance a été publiée dans la revue Trafic. Comme le déclare le psychanalyste Jean-Claude Polack : "tentative d?approche aussi minutieuse que possible du fonctionnement même du psychisme, notamment dans ses dimensions désirantes et transformatrices. Comment fonctionne le désir ? Quels sont les éléments dont cette énergie-matière s?empare pour construire son expansion, son empire ? Quelles sont les répressions sociales qu?elle rencontre ? Contrairement à Pasolini qui s?intéresse beaucoup à la façon dont la société met en scène, théâtralement, le cérémonial de la prédation, il y a ici un cinéma expérimental, c?est vrai, comme si la caméra cherchait à capter ce que l??il ne verra jamais, pour le décomposer et l?analyser. Un cinéma analytique, comme le microscope qui donne plus à voir de ce qu?est le mouvement, l?émotion, la sensation, la couleur, le sombre, l?émergence de l?image matérielle ou pensée. À partir de quel moment quelque chose est perceptible comme image dans le noir ? Et ce quelque chose, comment se fait-il que cela ne puisse être qu?une menace ? "[1]. En 2007, le chanteur Marylin Manson, qui avoue avoir visionné La Vie nouvelle à de nombreuses reprises, demande à Philippe Grandrieux de réaliser un clip pour le morceau Putting Holes in Happiness, titre sur l`album Eat Me, Drink Me. Philippe Grandrieux apparait dans le documentaire de Sarah Bertrand, There is no direction. En 2008, à l`initiative de l`Ambassade de France, un hommage lui est rendu au Japon, dans la célèbre salle Uplink de Tokyo, sous le titre "Extreme Love - autour de Philippe Grandrieux". La même année, la Tate Modern de Londres, dans le cadre de la rétrospective « Paradise Now ! Essential French Avant-Garde cinema 1890-2008 », programme Putting Holes in Happiness et consacre une séance monographique à Philippe Grandrieux, avec La Vie nouvelle (A New Life), L`Arrière-saison et un extrait de Un Lac alors work in progress. Son dernier film, Un Lac, a reçu une Mention Spéciale dans la catégorie Orrizzonti de la 65ème Mostra de Venise, qui récompense les films ouvrant des nouvelles tendances du cinéma.[2] Il revendique les influences de son professeur à l`INSAS, le réalisateur Edmond Bernhard, de Murnau, de Robert Bresson, de Jean-Marie Straub et Danièle Huillet, de Rainer Werner Fassbinder, de Stan Brakhage. Son ?uvre est très marquée par la lecture de Marc-Aurèle, Spinoza et Gilles Deleuze.

As she arrives in an unusual setting, Jaque Jolene reveals an unknown feeling of letting go of some belongings.

Márcia Beatriz studied at the Academy of Fine Arts in São Paulo, where he lives and works today. His projects involve the performance and motivation of video on a intense traffic between the visual arts and cinema. The videos draw an original vision of everyday life in the figure of a carefully constructed persona and interpreted by the artist herself. The construction of each video is linked to the central figure of Jolene Jaque - the character that dresses and guide the evolution of the screenplay, art direction, costumes and choice of locations, decoupage.

2002, North Carolina. Teenagers recall the investigation into the mysterious fainting of high school cheerleaders.

Lilith Grasmug is an Austrian actress based in Paris. She began her career in 2017 starring in Virgil Vernier's feature 'Sophia Antipolis'. She is known for appearing in Jean-Christophe Meurisse's 'Bloody Oranges' (2021), Carmen Jaquier's 'Thunder' (2022) and Claire Burger's 'Langue étrangère' (2024). She is currently doing a master's degree in contemporary art research at La Sorbonne after a spell at the ECAL art school in Lausanne. ‘Some of you fucked Eva’ is her first short film as a director.

Carmen San Diego: Out Of Work And On The Run (2011) is a philosophical drama in which nothing dramatic takes place ? a production that plugs wordy explanations of content into a cinematic form that looks like an action movie but sounds like a lecture. The script is entirely earnest, but the performances are removed from a stable ground determined by goal-oriented behaviour. It is imperfect according to the categories it appears to activate.

Sean Grattan (1981) is a Los Angeles based artist, originally from Auckland, New Zealand. He has a BA, BFA (Hons) and is currently completing an MFA at CalArts.

Ostensibly a horror movie, HADHAD uses the traditional storyline of a group of people encountering an intruder from the outside. The action takes place in a preset of domestic modern architecture, contextually displaced by the limited compositional palette. The performances emphasize the absurd aspects of an obsessive use of rational language, via the subject of technological determinism.

Grattan graduated from the University of Auckland with a BA (Philosophy) in 2001 and again in 2008 with a BFA (Honours) from Elam School of Fine Art. He is a recent MFA graduate from California Institute of the Arts. Since 2007 Grattan?s work has been shown both locally and internationally, including the Centre Pompidou Paris, Heidelberger Kunstverein Heidelberg, Artspace Auckland and the New Zealand International Film Festival.

«[…] craving for narrative» is some kind of non-indexical essay film about temporality and the porosity of meaning. Using a desktop-like visual space, it is structured around a 23 second clip from the 1978 movie «Grease» starring John Travolta and Olivia Newton-John. This short clip becomes the starting point for a sprawling narration. It’s about making sense of obsessions and what it is, that makes nostalgia so appealing. About pop music as a dispositive structuring reality and about white Adidas high top sneaker. It’s about dancing and hyper-intensity. About loops, the presence, families and the question if there’s some kind of post-ideological media-usage these days. And I guess somehow, this film is also about the internet.

Max Grau (*1988) works with film, text, performance, photography and music. His work addresses the relationship between the self and the social, the circulation and shifting of signs and contemporary forms of communication. He studied Fine Arts in Saarbrücken, Berlin and Los Angeles. Besides doing things individually, he’s interest in friendship-based modes of collaboration. His work has been shown internationally in art spaces and film festivals. He lives and works in Berlin.

The Great Refractor, a collaboration with Irish poet and neuroscientist Laurence O’Dwyer, charts the undulating terrain of our attempts to understand the world through both scientific and poetic inquiries. The film contrasts histories of mapping, visualizing and territorializing with contemporary practices centered on sounding, listening and collective resonation. The film models a ‘refractive’ method of narration and authorship, one that seeks out possible transformations and decolonizations of our processes of interpreting and sharing the world. The film presents a series of solitary figures engaged in their work, including an astrophysicist, an artist, a translator and a weather station engineer. Participants were asked to mimic with their voices the sounds of sonified observations, from underwater hydrophone recordings to black hole gravitation waves. All the sound in the video was made from these vocal recordings. Through a chorus of voices, stories and practices, the project prods at the sensitive and uncertain interface between outer and inner worlds, exploring regions of doubt where an often inscrutable reality meets the echo chambers of human knowledge.

Andy Graydon is an artist and filmmaker originally from Maui, Hawai’i. His work is concerned with natural and social ecologies, and with sound and listening as creative practices. Recent projects have focused on island ecologies and the imaginal and narrative forms employed by the natural sciences. His projects frequently engage structures of music such as the ensemble, the score, improvisation and variation, and techniques of the voice. His work has been presented internationally including shows at the New Museum; Mass MoCA; Berlinische Galerie, Berlin; Frye Art Museum, Seattle; and the Honolulu Biennial. Screenings include the Fulcrum Festival, Los Angeles; the Flaherty Series at Anthology Film Archives; WRO Media Arts Biennial, Poland; Arsenal Institut für Film und Videokunst, Berlin; and Millennium Film Archive. Graydon has collaborated widely as a sound artist and composer, including work with Jennifer Walshe, Jan St Werner, Michael Pisaro, Richard Garet, Delia Gonzalez, Stephen Vitiello, David Grubbs, Amnon Wolman, Kato Hideki, John Hudak, Sandra Gibson and Luis Recoder.

At the Gaomeigu Observatory in China, the Naxi people scan the sky, convinced they are the descendants of immortal beings living there, abandoned on earth to watch them. The telescope triggers their local legends, both old and new. There is a legend about the Leader who fed his people. There is a story about Sanduo, a folk tale hero from the Middle ages. Today, he is a skater in the big city. Two gods are in love, but a foreigner interferes.

Marko Grba Singh was born in 1988 in Belgrade, Yugoslavia. He is currently on his PhD studies in Film & TV directing, exploring docu-fiction. His first mid-length film Abdul & Hamza, won the Special Mention in the First film competition at FID Marseille 2015. He was a member of the student jury at the San Sebastian Film Festival in 2016. The newest film of his, Stars of Gaomeigu won Most innovative short film award at Visions du reel in 2017. He is the Artistic director of IDFF Beldocs.

Virgile and Blanche who are both seventeen years old, exchange e-mails in their rooms. Virgile likes Blanche, but Blanche likes a boy named Eustache. However, they don`t know each other`s thoughts. Virgile talks about life and death, and Blanche accepts it. Eustache, wearing a blue hat, walks in. He first goes to Virgile, and then to Blanche. At that moment, Blanche remembers that she had danced with Virgile, and goes out of her room to meet him.

Eugene Green was born in 1947 in New York. In 1969 he moves to france where he studies literature, linguistique, art and cinema history. He receives the french nationality in 1976. In 1999 he directs "Night After Night for which he recieves the Luis-Delluc price. He starts being noticed for his second feature film "The Livng World" presented in Cannes in 2003. His short film "The Signs" was selected for Cannes too. At the moment he is working on "The Silent Fields", "Life is a Dream" and "The Portuguese Nun".