Distribution

A clandestine neighbourhood in Lisbon wakes up to the news of a violent police raid, which took place the night before. Camila, a 7-year-old girl, goes in search of her brother. She’s worried. At the same time, Jysone is in a hurry: after 6 years in jail and 5 weeks free, Jysone has finally found work and knows he can’t be late. He is looking for someone who can give him a ride.

At Aunty Gladys’s funeral, Archer Pechawis heard a tap on the window – it was a bear named Jesus... an allegory for religious interference, with an aching yet humorous look at estrangement and mourning for the loss of someone still living.

Using an experimental approach to green screen, Maxim Franks has created a kaleidoscopic film for the song Almost Puppet. Together, the video and song explore the themes of identity and self through the perspective of the cat puppet Puppet Ginger, with particular emphasis on the fragility of consciousness.

‘Deliver, deliver, deliver, deliver, I’m your delivery deliver delivery, I deliver everything!’ raps the ‘delivery heroine’ (or anti-heroine) in a worn-out quarterback jersey, alone in a kind of basement storage room. Her performance ‘delivered’ the sound of exhaustion in a world that is increasingly dominated by algorithms and AI in the service of a turbo-speed platform capitalism.

A rap video, filmed with the back-up camera of a Bentley Continental GT. ‘We wanted to film using the dearest, heaviest and most inconvenient camera in the world, one that is also not especially good to boot,’ the band's press release says. A stylish film studio, a dolly and tracks for the heavyweight status symbol and reverse gear left in throughout. Money doesn’t make you happy, and necessity is the mother of invention. This is how clichés are taken ad absurdum.

Shortly after the artist Dan Robert Lahiani arrived at the 12th floor of the Clal Building in Jerusalem for an osteopathic session, his personal quest for connection, home and healing became entangled with the dilapidated and crumbling building’s angsts, aches, and neglect. Lahiani draws lines between the series of treatments he experienced and the building’s need for care and healing.

Isolde Maria Joham – the woman pictured – steps onto a mobile scaffolding. She very gradually climbs up one step at a time before nearly reaching the top, when she stops to give a thumbs-up and mischievously smiles at the camera. Christiana Perschon presents the 90-year-old artist in austerely framed shot segments. Joham performs with the scaffolding, time and again peering through its struts to gaze into the camera.

Afibola is an Afrofeminist and queer Cuban activist, trying to teach their son Olorun how to grow up to be a free Afrocuban man despite the obstacles around them. In the intimacy of their community home spaces, they reflect on the difficulty of educating a black child in a racist and discriminatory society.

During the Russian occupation of the Chernobyl Zone in early 2022, a local informant is clandestinely filming the Russian troops. We hear the workers of the Chernobyl Nuclear Power Station discuss their experiences during the Russian military takeover of their facility – an act of nuclear terror which threatened another global disaster at this site. Past and present catastrophic scenarios intertwine in this macabre episode of the Russian invasion of Ukraine.

This song was written as a prologue to the Ravel opera L’enfant et les sortilèges (The Child and the Spells), whose libretto was written by the French author Colette, a very early feminist, as a surreal anti-authoritarian fantasy. With the actor Fabian Hinrichs, himself a great doubting loner, we have tried to make a swaying one-take clip combining an edgy, childish bid for freedom and its ambivalent (embarrassing?) transgression.

An ageing rock star, his own zenith in the rear-view mirror, living isolated between Louis II and Louis XIV, less sun, more sunset. Rocko Schamoni as Rocko Schikano and the question of what might have been.

The film touches on some historical facts about the largest refugee camp El Shatt in the Sinai desert in Egypt during the WWII, based on materials from Croatian and international archives and intertwined with the visuals of this desert non-place now. An attempt to reconstruct a fragmented memory of unknown history about migration in the Mediterranean as a transtemporal filmic journey.

This is my second VR project, which combines imagery, dance and installation to create a kind of dialogue. It is an attempt at a directorial approach that falls somewhere between film and theatre. All of the scenes are taken from the paintings of Edward Hopper. This version is specifically designed for theatrical release.

A smile travels through the world of sadness being transformed by emotions and thoughts…

Grandma grows a pair of wings and transforms into a human bird. She steps out of the darkness of a tunnel into a desolate, misty landscape. She is above clouds, floating into where birds soar, above ground as bodies in levitation. The video tickles our senses and emotions towards losing our sense of gravity.

Frau Michels is on the way to her physiotherapist, who makes the heart of this married woman flutter. But there is no trace of him.

Ariana (12) loves to dance with her hairy friend Mikey, her dog. Sadly, she has a ticking bomb inside of her: two kidneys that are not working. If she wants to continue dancing, she must find a donor. She is determined to look for one by posting an online video. But how should you make a video
about something that you’re actually so scared of?

This film is about gazes and goodbyes. An attempt to weave images with words and to weave a poem with images. I realize that living is suffering to see that Nemu, one of my daughters, squirms with the struggle, and sunflowers squirm to try to bloom.

Gravity by Laima Adelaide. – Screenplay by Laima Adelaide & Duc-Thi for a music video that is the music video, designed by Marc Engenhart. Because it’s all about the story... and the music!

An image of the history of the universe, from the perspective of a solitary human being living in a single room apartment, passing a birthday while going through slide photos of movies.

Bai Lu, a 12-year-old girl in a small village in China, is forbidden to attend her beloved grandmother’s funeral as she is experiencing her first period. Bai Lu does not understand
why her menstruation is considered ‘ritually unclean’. She tries to bid farewell to her grandmother in one final journey to pay homage.

a black-white-grey visual music film for image and non-image.

The clip begins with a monologue from Paul Schrader’s film First Reformed, in which a committed environmental activist evokes the climate catastrophe and the approaching end. After this, the music video gathers film material from despairing people and puts the images in relation to the song ‘La Vita’by the US-Canadian songwriter and film composer Beverly Glenn-Copeland.

A day with Weltschmerz.

See and hear synthetic actors talk about ‘AI-acting’, addressing many artists’ fears – namely, losing artistic exclusivity because of emerging AI technology. Synthetic actors, generated with DALL•E 2, explain the differences between ‘traditional’ 3D-animated characters and them, AI-generated actors, as well as how artificial intelligence will affect acting careers in general soon.

Football stadiums have long been the designated places for the escalation of conflicts, and every incident during a football match makes for a fire-starting headline. Meanwhile, the armies of six former Yugoslav republics have been getting together every year for over a decade for a futsal tournament in the name of peace, in almost complete media silence.

‘Clubs aren’t crap; men make clubs crap’ – there is violence-free communication, and there is Maschinenbauergemetzel. This video is a passionate outburst, a bloody commentary on patriarchy, a fest of overreaction: uncompromising, brutal, sensual and ambivalent. Played by Amelie Kriss-Heinrich in an unusual single take.

In Mourning Stage, a series of drawings depicts different renditions of the devil in hell. Among these demons there are feminized characters that suggest sexual perversions as typified by the Catholic imagination. Performer Paetau interacts with the drawings using her body and facial expressions to create a ritualistic performance where the body, fetishized and colonized by morality, is mourned.

What does she explain? Does she speak for herself? Her coat is poplin and its neckerchief is yellow like a canary. Whether she bumped into something when she came from the paradise of market, no one knows, but a group of torsos knows based on their own history that such a thing happens.

Dutch painter Philip Akkerman focusses on one sole subject: the self-portrait. Since 1981, Philip has drawn and painted more than 10,000 self-portraits. ‘What I paint is our ability as human beings to contemplate existence,’ he says. Mitchel van Dinther aka Jameszoo has created a fast-paced video with Akkerman portraits range all the way from the early 1980s up to now.

Referencing the death scene of Sol Roth, played by Edward G. Robinson, in the 1973 movie Soylent Green, an old man on a hospital bed moves through an endless hallway and reflects in a monologue on the 112 years of his life and how humans were able to avoid their own extinction.

Behind the term ‘sensitive content’, behind this symbol of the crossed-out eyes, in this Deep Blur, two real eyes have been erased by the violence in the Middle East.

SilencioVozRuidois a documentary that tells, through photographs, objects and documents from the family archive, the experience of the director during the first years of his life with Pierre Robin syndrome. The documentary is an intimate, personal journey of reinterpretation of the images anchored in the memory. A journey to the past to understand the present.

Welcome to St. Mickeyland! In painting-like tableaus, a reservation inhabited by cartoon and media icons is displayed. The assembled characters are in search of meaning in life, reflecting on their creation in the honeypot of capital. While Snow White learns stand-up paddling, Winnie-the-Pooh gives birth to a descendant, adding a dash of humanity to the fictional shell.

Wearing the tell-tale masks of our daunting now, five New York City performers search for a meal in a Queens market while speaking in verse. The film itself transforms into an ars poetica/cinematica, a meditation on writing and making images in the liminal space between a global pandemic and what might come next. Inspired by Filipinx-American Paolo Javier’s Original Brown Boy poems.

Medieval time travellers on a short visit to the future, so-called present and not-so-grey prehistory encounter burgers, SUVs, esoterics and a mammoth before (spoiler alert) returning to the past.

Nathan is a stubborn thirteen-year-old boy. Driven by his new friend Malik, he prepares himself for a strange ritual to become a member of a teenage gang. In order to look strong to the other kids, Nathan scarifies a cross on his chest, hoping it will prove his willpower.

Turtleneck Phantasies combines historical accounts with personal memories, merging the documentary and fiction. This results in a complex work that seemingly incidentally, yet excitingly and often tragicomically, sketches the state of a society, representing remembrances of suppressed, unheard and forgotten voices.

A performative poetry film about what nobody will want to have seen. Childish paper dolls and tableaus, collage aesthetics juxtaposed with symbols of war, politics, religion. Ideologies and opinions tried on as one would try on clothes. A poem about the Leningrad siege.The colours of the suffragettes, Aileen Wuornos glorification, and glorious landscapes combined with Nazi uniforms.

A single mother experiences an intricate interplay between loneliness, desire, anxiety, boredom, and dream-like states as she waits for her child to return home from a visit with their father. As the days pass, the mother becomes increasingly restless. She tries to distract herself by engaging in mundane domestic tasks and indulging in fantasies of romantic connection.

This is a rhythmic invocation of the ancestral fire, in which dazzling flames reanimate bones and natural elements. This is the shining of colour.

20-20 is a compilation of 5 short, video-journal reflections on 2020. Each

was created as Karen Trask’s contribution to an exquisite corpse

video project called 2GatherApart. Organized by a group of Montreal

artists, it was a way to stay connected and creative during the

pandemic. 20-20 is a personal and humorous look at an unusual year.

At Aunty Gladys’s funeral, Archer Pechawis heard a tap on the window – it was a bear named Jesus... an allegory for religious interference, with an aching yet humorous look at estrangement and mourning for the loss of someone still living.

The Ladies eat, the gentlemen beat.

There is a good girl. And there is the Internet. This might seem weird but this might be real.

Using an experimental approach to green screen, Maxim Franks has created a kaleidoscopic film for the song Almost Puppet. Together, the video and song explore the themes of identity and self through the perspective of the cat puppet Puppet Ginger, with particular emphasis on the fragility of consciousness.

Park. Apartment. 6-core processor. My avatar learns a backflip.

“Blacktivist” reflects on police brutality, selective enforcement, and the right of self-defence. Scenes reminiscent of the aesthetics of conventional music videos come together with found footage, documentary shots and 3-D animations.

A woman hurls lightning bolts; ghosts gather about her and want to bring her under control. She fights her way through until the ghosts fall silent.

Tired of being despised by his colleagues – a bunch of lowbrow office machos – Mr. Lorenz opposes them and designs his own evening adventures. Free from all constraints and insults, he devotes himself to the charm of the night, of alcohol and karaoke bars.

When the mayor of a little village decides to take in forty refugees, a wave of dislike and hatred befalls him and his family. The short animation tells of a fight against fear and the courage to stand up for your convictions despite the threat of one’s life.

People tend to hurt each other, leaving long-lasting wounds, and this is no different amongst families.

It is not clear what is up and what is down. Gravity is suspended. Only the moment provides orientation – in brief, we are left clueless.

The small cruelties of a subliminal fog roll in. A pandemic thwarts intimacy. Perched from their little planets, this cast of wildly colourful creatures question their futures and navigate the longing for connection. This is the fifth collaboration between Jessie Mott and Steve Reinke.

‘Copyshop’ accompanies Berlin-Köpenick rapper Romano on a voyage of discovery to Hong Kong, where he reviews his past as a copy shop employee in Berlin. It’s all about megacities, stereotypes, creative spaces, rap music, Romano’s copy shop biography and the copy of the copy of the copy ...

The song by Tall Juan dedicated to all those people who live in the street. Made with acrylics, pastels and pencil on paper.

An ageing rock star, his own zenith in the rear-view mirror, living isolated between Louis II and Louis XIV, less sun, more sunset. Rocko Schamoni as Rocko Schikano and the question of what might have been.

The possibility of (re)constructing human history now no longer takes place in archives alone; it has instead moved into the realm of rubbish. But what if, under modern concepts of an efficient recycling system, there is no more waste? Then the past of our present will no longer be detectable in the future. In order to survive, rubbish must therefore seek alternative places of refuge...

Petra wants to relax, Martha is anxious and Maria simply doesn’t get up. The waves rush, and the lapdog gives in. It is hot and the wound is gaping.

In a silver catsuit and with a cigarette Sandra Hüller plays a superhero, whose glorious days seem to be long gone. The personal song deals with love, missed chances and finally letting go. These topics also appear in the video, with communication (or its absence) playing a central role, too.

Doors of Reception is a collage of door sounds from various science fiction films, creating an abstract sound painting of opening and closing colour fields. A recurring theme of the genre is passing through doors and being locked in or locked out on one side or the other, a condition that became the painful reality for many in times of the pandemic.

This is my second VR project, which combines imagery, dance and installation to create a kind of dialogue. It is an attempt at a directorial approach that falls somewhere between film and theatre. All of the scenes are taken from the paintings of Edward Hopper. This version is specifically designed for theatrical release.

In the nest of the sun, Xolotl, Huitzilin and Xochitl meet to recover the dance of radiation, whose colourful heat stirs the new fire of their cosmic dance.

Disguised as a straightforward promotional music video, an iconic 1970 performance by a messianic Elvis Presley is transformed by editing and music into a dark meditation on addiction and the hollowness of celebrity culture.

Grandma grows a pair of wings and transforms into a human bird. She steps out of the darkness of a tunnel into a desolate, misty landscape. She is above clouds, floating into where birds soar, above ground as bodies in levitation. The video tickles our senses and emotions towards losing our sense of gravity.

Based on a flea market find of Super 8 family archives. A father is placed at the center of the image, staging himself in front of the camera as a smug tyrant. A voiceover re-contextualises the images by telling a story of what is not visible.

The electromagnetic landscapes of Sao Paulo and Rio de Janeiro go on an irregular basis and it is possible to see what’s outside the frame. This image hacking is connected to the poem “E se Jesus fosse preto” (And If Jesus Were Black) by the Brazilian poet Bruno Negrão, who proposes a new way to imagine some of our ingrained beliefs.

Puppets on strings rave, eat and fly.

An Afghan hound, oscillating between ancient breed and modern day Instagram model, poses in all its mysterious glory.

The people in the video 'FragMANts' worship their consumer goods like religious cult objects. The religion venerated here is that of capitalism, which reveals itself to be superficial and meaningless. The believers of this religion are only uprooted fragments of themselves.

Frau Michels is on the way to her physiotherapist, who makes the heart of this married woman flutter. But there is no trace of him.

An image of the history of the universe, from the perspective of a solitary human being living in a single room apartment, passing a birthday while going through slide photos of movies.

The lyrics illuminate the juxtaposition between Europe’s closed-door immigration policies and the free global movement of consumer items. Visually, we are invited into the world of the successful elite where every key position is occupied by – supposedly – immigrants.

‘The older I am, the smaller the pixels become. It attracts me, but why? I take off, I fly.’

Junkerhaus is shot in the residence of Karl Junker (1850 -1912) who dedicated his life to building his house in Lemgo, Germany. Reflections, projections and changes in light form abstract shapes which animate surfaces and structures, producing a psychological portrait that offers a new appreciation of Junker’s architecture as a mystical and visionary experience.

Upright video of a mobile phone that is filming a band and turning it into art.

Two lovers explore a patterned jungle world and meet some animal friends along the way.

Four friends sit in the Platz der Kulturen square in Cologne’s Finkenberg district, looking for the right words and punctuation for a text message that is never to be sent.

The camera moves in on a disturbingly normal home, closer and closer; the door opens as if by magic, and the camera flies through a maze of repetitive rooms. The start becomes the ending and the ending becomes the start.

I always make choices and take action. But sometimes, my heart and body are drawn to something before thinking in the head. Then I change my shape and reach an unknown place. I can’t control where I go.

Despite its fierce winds and dangerous waters, the Strait of Gibraltar has increasingly become the route of choice for migrants using Morocco as a gateway to Europe, making the mouth of the Mediterranean Basin into a tragic site of hope and death.

You against me. Us against the world.
We do not get along anymore, but we long for each other.

Since 2017 the two giant panda bears Meng Meng and Jiao Qing have been
hired out to the Berlin Zoo from China. Unfortunately for the Zoo, this
profit seeking attraction did not work  – in fact, it
worked backwards. Meng Meng, the female panda will only walk backwards.
Kerstin Honeit’s video aligns Meng Meng’s protest with other
performances of protesting bodies using movement in public space to
address grievances

The Story of a little Furry, who will make a great discovery by overcoming the fear of the unknown.

A man walks through the forest and tries to find berries. Instead, he finds an empty French dressing bottle. A genie comes out of the bottle and grants the man three wishes. The man uses the wishes traditionally but constantly resorts to bad language which the genie does not approve of. So the man is going to learn a lesson.

Girardet's visual transfer of Second Chance Man, "a song about risk" (Stuart Staples), is part of The Waiting Room Film Project, a track by track interpretation of Tindersticks' latest album by various directors.

‘Sento’ is a Japanese public bath. This particular public bath features fascinating details such as a wall-size print of  Mount Fuji, pop yellow plastic washbowls, asymmetrical mirrors and other things fusing in a dance.

Behind the term ‘sensitive content’, behind this symbol of the crossed-out eyes, in this Deep Blur, two real eyes have been erased by the violence in the Middle East.

In 2021, hundreds of thousands of people took over the streets in Brazil, in the midst of a pandemic, to protest against the Bolsonaro government. Inspired by Joyce Wieland’s 1973 film of the same name, Solidarity portrays these protests by focusing on the expressiveness of human hands rather than Wieland’s feet. Gestures of affection, resistance, protection, joy or repression are revealed in these images made in Super 8 mm Ektachrome.

When I started living alone and decorating my room with flowers, I started to get excited. There are many beautiful flowers outside, but is this someone else’s property? Even if they look like weeds, they might be someone's pleasure to pass by here, so I end up buying flowers at the florist. I wonder if flowers are something you buy with money.

A chubby, red-headed, mini-anarchist is about to become your idol. A sweaty, round-faced, pre-teen boy is our protagonist. Walking amongst ruins in his trackies, he smokes, stuffs his face repeatedly and pulls out some pretty mad shapes.

Welcome to St. Mickeyland! In painting-like tableaus, a reservation inhabited by cartoon and media icons is displayed. The assembled characters are in search of meaning in life, reflecting on their creation in the honeypot of capital. While Snow White learns stand-up paddling, Winnie-the-Pooh gives birth to a descendant, adding a dash of humanity to the fictional shell.

A present-day adaptation of an old story from Utsjoki, Sápmi. It is a legend of the director’s relative, Ovllá-Ivvár Helander, about what he did during the Spanish flu epidemic in 1918 in Utsjoki. Ovllá-Ivvár decided to fool Death and take his fate into his own hands. The protagonist of the film is walking in Ovllá-Ivvár’s footsteps.

The transparent, holographic portions of Canadian dollar bills are contact-printed onto 16 mm film. A camera-less, dizzying closer look at the monarch, maple leaves and colonial structures that secure and validate our legal tender.

„You can always be in two places at once, did you know? The real world and the magical world." 

The voice on the phone whispers in your ear -there's a way to alter reality. A journey through Graveyards, unknown waters, poems, dreams and wishes, telling us that what we long for is waiting for us and that we can meet it in our very own underworld. A film in love, like a prayer, an attempt to reclaim of what seems lost, to open the gateway and enter the real world.

A train ride reveals strange incidences.

A woman wants to get up. But the chairs she is sitting on won’t let her go. The woman’s room becomes her universe and the way out of it is, of all things, the armchairs.

The video 'Three Casualties' is an investigation of three movie scenes, showing stunts that lead to the deaths of the stunt doubles performing them. In some cases these scenes were left in the films so that a large audience simultaneously witnessed an actual death as well as a fictional one on screen. 

Medieval time travellers on a short visit to the future, so-called present and not-so-grey prehistory encounter burgers, SUVs, esoterics and a mammoth before (spoiler alert) returning to the past.

Accompanied by a lilting soundtrack, characters wander through London's concrete jungle as an unknown female voice reflects on the current state of the city and imagined future.

Rufus Wainwright turns himself into a fictional character based on the editor-in-chief of Vogue, Anne Wintour. A commentary on life in a reality that can be artificially altered and on the price of fame.

In the middle of the night, a broken farted finds music in the arms of beautiful strangers.

An actors’ tutorial about crying fake tears on camera. Ten actresses don’t only explain, how to make oneself cry in ten easy steps, they also give their best to demonstrate it.

We haven't gone viral.

A reference system shows the question to all answers: the filter bubble, the fake news, the algorithm and Henry Maske.

At Aunty Gladys’s funeral, Archer Pechawis heard a tap on the window – it was a bear named Jesus... an allegory for religious interference, with an aching yet humorous look at estrangement and mourning for the loss of someone still living.

Using an experimental approach to green screen, Maxim Franks has created a kaleidoscopic film for the song Almost Puppet. Together, the video and song explore the themes of identity and self through the perspective of the cat puppet Puppet Ginger, with particular emphasis on the fragility of consciousness.

‘Deliver, deliver, deliver, deliver, I’m your delivery deliver delivery, I deliver everything!’ raps the ‘delivery heroine’ (or anti-heroine) in a worn-out quarterback jersey, alone in a kind of basement storage room. Her performance ‘delivered’ the sound of exhaustion in a world that is increasingly dominated by algorithms and AI in the service of a turbo-speed platform capitalism.

A rap video, filmed with the back-up camera of a Bentley Continental GT. ‘We wanted to film using the dearest, heaviest and most inconvenient camera in the world, one that is also not especially good to boot,’ the band's press release says. A stylish film studio, a dolly and tracks for the heavyweight status symbol and reverse gear left in throughout. Money doesn’t make you happy, and necessity is the mother of invention. This is how clichés are taken ad absurdum.

Isolde Maria Joham – the woman pictured – steps onto a mobile scaffolding. She very gradually climbs up one step at a time before nearly reaching the top, when she stops to give a thumbs-up and mischievously smiles at the camera. Christiana Perschon presents the 90-year-old artist in austerely framed shot segments. Joham performs with the scaffolding, time and again peering through its struts to gaze into the camera.

Afibola is an Afrofeminist and queer Cuban activist, trying to teach their son Olorun how to grow up to be a free Afrocuban man despite the obstacles around them. In the intimacy of their community home spaces, they reflect on the difficulty of educating a black child in a racist and discriminatory society.

During the Russian occupation of the Chernobyl Zone in early 2022, a local informant is clandestinely filming the Russian troops. We hear the workers of the Chernobyl Nuclear Power Station discuss their experiences during the Russian military takeover of their facility – an act of nuclear terror which threatened another global disaster at this site. Past and present catastrophic scenarios intertwine in this macabre episode of the Russian invasion of Ukraine.

This song was written as a prologue to the Ravel opera L’enfant et les sortilèges (The Child and the Spells), whose libretto was written by the French author Colette, a very early feminist, as a surreal anti-authoritarian fantasy. With the actor Fabian Hinrichs, himself a great doubting loner, we have tried to make a swaying one-take clip combining an edgy, childish bid for freedom and its ambivalent (embarrassing?) transgression.

An ageing rock star, his own zenith in the rear-view mirror, living isolated between Louis II and Louis XIV, less sun, more sunset. Rocko Schamoni as Rocko Schikano and the question of what might have been.

The film touches on some historical facts about the largest refugee camp El Shatt in the Sinai desert in Egypt during the WWII, based on materials from Croatian and international archives and intertwined with the visuals of this desert non-place now. An attempt to reconstruct a fragmented memory of unknown history about migration in the Mediterranean as a transtemporal filmic journey.

This is my second VR project, which combines imagery, dance and installation to create a kind of dialogue. It is an attempt at a directorial approach that falls somewhere between film and theatre. All of the scenes are taken from the paintings of Edward Hopper. This version is specifically designed for theatrical release.

A smile travels through the world of sadness being transformed by emotions and thoughts…

Ariana (12) loves to dance with her hairy friend Mikey, her dog. Sadly, she has a ticking bomb inside of her: two kidneys that are not working. If she wants to continue dancing, she must find a donor. She is determined to look for one by posting an online video. But how should you make a video
about something that you’re actually so scared of?

This film is about gazes and goodbyes. An attempt to weave images with words and to weave a poem with images. I realize that living is suffering to see that Nemu, one of my daughters, squirms with the struggle, and sunflowers squirm to try to bloom.

Gravity by Laima Adelaide. – Screenplay by Laima Adelaide & Duc-Thi for a music video that is the music video, designed by Marc Engenhart. Because it’s all about the story... and the music!

An image of the history of the universe, from the perspective of a solitary human being living in a single room apartment, passing a birthday while going through slide photos of movies.

Bai Lu, a 12-year-old girl in a small village in China, is forbidden to attend her beloved grandmother’s funeral as she is experiencing her first period. Bai Lu does not understand
why her menstruation is considered ‘ritually unclean’. She tries to bid farewell to her grandmother in one final journey to pay homage.

a black-white-grey visual music film for image and non-image.

The clip begins with a monologue from Paul Schrader’s film First Reformed, in which a committed environmental activist evokes the climate catastrophe and the approaching end. After this, the music video gathers film material from despairing people and puts the images in relation to the song ‘La Vita’by the US-Canadian songwriter and film composer Beverly Glenn-Copeland.

A day with Weltschmerz.

See and hear synthetic actors talk about ‘AI-acting’, addressing many artists’ fears – namely, losing artistic exclusivity because of emerging AI technology. Synthetic actors, generated with DALL•E 2, explain the differences between ‘traditional’ 3D-animated characters and them, AI-generated actors, as well as how artificial intelligence will affect acting careers in general soon.

Football stadiums have long been the designated places for the escalation of conflicts, and every incident during a football match makes for a fire-starting headline. Meanwhile, the armies of six former Yugoslav republics have been getting together every year for over a decade for a futsal tournament in the name of peace, in almost complete media silence.

‘Clubs aren’t crap; men make clubs crap’ – there is violence-free communication, and there is Maschinenbauergemetzel. This video is a passionate outburst, a bloody commentary on patriarchy, a fest of overreaction: uncompromising, brutal, sensual and ambivalent. Played by Amelie Kriss-Heinrich in an unusual single take.

What does she explain? Does she speak for herself? Her coat is poplin and its neckerchief is yellow like a canary. Whether she bumped into something when she came from the paradise of market, no one knows, but a group of torsos knows based on their own history that such a thing happens.

Dutch painter Philip Akkerman focusses on one sole subject: the self-portrait. Since 1981, Philip has drawn and painted more than 10,000 self-portraits. ‘What I paint is our ability as human beings to contemplate existence,’ he says. Mitchel van Dinther aka Jameszoo has created a fast-paced video with Akkerman portraits range all the way from the early 1980s up to now.

Referencing the death scene of Sol Roth, played by Edward G. Robinson, in the 1973 movie Soylent Green, an old man on a hospital bed moves through an endless hallway and reflects in a monologue on the 112 years of his life and how humans were able to avoid their own extinction.

Behind the term ‘sensitive content’, behind this symbol of the crossed-out eyes, in this Deep Blur, two real eyes have been erased by the violence in the Middle East.

SilencioVozRuidois a documentary that tells, through photographs, objects and documents from the family archive, the experience of the director during the first years of his life with Pierre Robin syndrome. The documentary is an intimate, personal journey of reinterpretation of the images anchored in the memory. A journey to the past to understand the present.

Medieval time travellers on a short visit to the future, so-called present and not-so-grey prehistory encounter burgers, SUVs, esoterics and a mammoth before (spoiler alert) returning to the past.

Turtleneck Phantasies combines historical accounts with personal memories, merging the documentary and fiction. This results in a complex work that seemingly incidentally, yet excitingly and often tragicomically, sketches the state of a society, representing remembrances of suppressed, unheard and forgotten voices.

A performative poetry film about what nobody will want to have seen. Childish paper dolls and tableaus, collage aesthetics juxtaposed with symbols of war, politics, religion. Ideologies and opinions tried on as one would try on clothes. A poem about the Leningrad siege.The colours of the suffragettes, Aileen Wuornos glorification, and glorious landscapes combined with Nazi uniforms.

This is a rhythmic invocation of the ancestral fire, in which dazzling flames reanimate bones and natural elements. This is the shining of colour.

An image of the history of the universe, from the perspective of a solitary human being living in a single room apartment, passing a birthday while going through slide photos of movies.

The film touches on some historical facts about the largest refugee camp El Shatt in the Sinai desert in Egypt during the WWII, based on materials from Croatian and international archives and intertwined with the visuals of this desert non-place now. An attempt to reconstruct a fragmented memory of unknown history about migration in the Mediterranean as a transtemporal filmic journey.

This film is about gazes and goodbyes. An attempt to weave images with words and to weave a poem with images. I realize that living is suffering to see that Nemu, one of my daughters, squirms with the struggle, and sunflowers squirm to try to bloom.

Isolde Maria Joham – the woman pictured – steps onto a mobile scaffolding. She very gradually climbs up one step at a time before nearly reaching the top, when she stops to give a thumbs-up and mischievously smiles at the camera. Christiana Perschon presents the 90-year-old artist in austerely framed shot segments. Joham performs with the scaffolding, time and again peering through its struts to gaze into the camera.

A clandestine neighbourhood in Lisbon wakes up to the news of a violent police raid, which took place the night before. Camila, a 7-year-old girl, goes in search of her brother. She’s worried. At the same time, Jysone is in a hurry: after 6 years in jail and 5 weeks free, Jysone has finally found work and knows he can’t be late. He is looking for someone who can give him a ride.

Using an experimental approach to green screen, Maxim Franks has created a kaleidoscopic film for the song Almost Puppet. Together, the video and song explore the themes of identity and self through the perspective of the cat puppet Puppet Ginger, with particular emphasis on the fragility of consciousness.

‘Deliver, deliver, deliver, deliver, I’m your delivery deliver delivery, I deliver everything!’ raps the ‘delivery heroine’ (or anti-heroine) in a worn-out quarterback jersey, alone in a kind of basement storage room. Her performance ‘delivered’ the sound of exhaustion in a world that is increasingly dominated by algorithms and AI in the service of a turbo-speed platform capitalism.

A rap video, filmed with the back-up camera of a Bentley Continental GT. ‘We wanted to film using the dearest, heaviest and most inconvenient camera in the world, one that is also not especially good to boot,’ the band's press release says. A stylish film studio, a dolly and tracks for the heavyweight status symbol and reverse gear left in throughout. Money doesn’t make you happy, and necessity is the mother of invention. This is how clichés are taken ad absurdum.

This song was written as a prologue to the Ravel opera L’enfant et les sortilèges (The Child and the Spells), whose libretto was written by the French author Colette, a very early feminist, as a surreal anti-authoritarian fantasy. With the actor Fabian Hinrichs, himself a great doubting loner, we have tried to make a swaying one-take clip combining an edgy, childish bid for freedom and its ambivalent (embarrassing?) transgression.

An ageing rock star, his own zenith in the rear-view mirror, living isolated between Louis II and Louis XIV, less sun, more sunset. Rocko Schamoni as Rocko Schikano and the question of what might have been.

Gravity by Laima Adelaide. – Screenplay by Laima Adelaide & Duc-Thi for a music video that is the music video, designed by Marc Engenhart. Because it’s all about the story... and the music!

a black-white-grey visual music film for image and non-image.

The clip begins with a monologue from Paul Schrader’s film First Reformed, in which a committed environmental activist evokes the climate catastrophe and the approaching end. After this, the music video gathers film material from despairing people and puts the images in relation to the song ‘La Vita’by the US-Canadian songwriter and film composer Beverly Glenn-Copeland.

A day with Weltschmerz.

‘Clubs aren’t crap; men make clubs crap’ – there is violence-free communication, and there is Maschinenbauergemetzel. This video is a passionate outburst, a bloody commentary on patriarchy, a fest of overreaction: uncompromising, brutal, sensual and ambivalent. Played by Amelie Kriss-Heinrich in an unusual single take.

Medieval time travellers on a short visit to the future, so-called present and not-so-grey prehistory encounter burgers, SUVs, esoterics and a mammoth before (spoiler alert) returning to the past.

A performative poetry film about what nobody will want to have seen. Childish paper dolls and tableaus, collage aesthetics juxtaposed with symbols of war, politics, religion. Ideologies and opinions tried on as one would try on clothes. A poem about the Leningrad siege.The colours of the suffragettes, Aileen Wuornos glorification, and glorious landscapes combined with Nazi uniforms.

Dutch painter Philip Akkerman focusses on one sole subject: the self-portrait. Since 1981, Philip has drawn and painted more than 10,000 self-portraits. ‘What I paint is our ability as human beings to contemplate existence,’ he says. Mitchel van Dinther aka Jameszoo has created a fast-paced video with Akkerman portraits range all the way from the early 1980s up to now.

In Mourning Stage, a series of drawings depicts different renditions of the devil in hell. Among these demons there are feminized characters that suggest sexual perversions as typified by the Catholic imagination. Performer Paetau interacts with the drawings using her body and facial expressions to create a ritualistic performance where the body, fetishized and colonized by morality, is mourned.

This is a rhythmic invocation of the ancestral fire, in which dazzling flames reanimate bones and natural elements. This is the shining of colour.

What does she explain? Does she speak for herself? Her coat is poplin and its neckerchief is yellow like a canary. Whether she bumped into something when she came from the paradise of market, no one knows, but a group of torsos knows based on their own history that such a thing happens.

Shortly after the artist Dan Robert Lahiani arrived at the 12th floor of the Clal Building in Jerusalem for an osteopathic session, his personal quest for connection, home and healing became entangled with the dilapidated and crumbling building’s angsts, aches, and neglect. Lahiani draws lines between the series of treatments he experienced and the building’s need for care and healing.

Wearing the tell-tale masks of our daunting now, five New York City performers search for a meal in a Queens market while speaking in verse. The film itself transforms into an ars poetica/cinematica, a meditation on writing and making images in the liminal space between a global pandemic and what might come next. Inspired by Filipinx-American Paolo Javier’s Original Brown Boy poems.

During the Russian occupation of the Chernobyl Zone in early 2022, a local informant is clandestinely filming the Russian troops. We hear the workers of the Chernobyl Nuclear Power Station discuss their experiences during the Russian military takeover of their facility – an act of nuclear terror which threatened another global disaster at this site. Past and present catastrophic scenarios intertwine in this macabre episode of the Russian invasion of Ukraine.

Turtleneck Phantasies combines historical accounts with personal memories, merging the documentary and fiction. This results in a complex work that seemingly incidentally, yet excitingly and often tragicomically, sketches the state of a society, representing remembrances of suppressed, unheard and forgotten voices.

See and hear synthetic actors talk about ‘AI-acting’, addressing many artists’ fears – namely, losing artistic exclusivity because of emerging AI technology. Synthetic actors, generated with DALL•E 2, explain the differences between ‘traditional’ 3D-animated characters and them, AI-generated actors, as well as how artificial intelligence will affect acting careers in general soon.

Afibola is an Afrofeminist and queer Cuban activist, trying to teach their son Olorun how to grow up to be a free Afrocuban man despite the obstacles around them. In the intimacy of their community home spaces, they reflect on the difficulty of educating a black child in a racist and discriminatory society.

In 2021, hundreds of thousands of people took over the streets in Brazil, in the midst of a pandemic, to protest against the Bolsonaro government. Inspired by Joyce Wieland’s 1973 film of the same name, Solidarity portrays these protests by focusing on the expressiveness of human hands rather than Wieland’s feet. Gestures of affection, resistance, protection, joy or repression are revealed in these images made in Super 8 mm Ektachrome.

Heleny Guariba, philosopher, professor and theatre director, disappeared in 1971 under the Brazilian dictatorship. Inspired by the arpilleras, a unique form of political resistance that emerged from the horrors of Pinochet regime in Chile, the stitched and animated memories of her loved ones reveal to us what could not be told in words.

The hit man in the world of Colombianization represents the lowest link on which an entire criminal structure is supported. He is the one who makes the decision to become a hitman for reasons linked to social advancement. 

This video is part of the video performance project @colombianizacion. More information at: www.colombianizacion.com. 

In 1982, the eruption of a volcano called Chichonal forced the Zoque community to relocate. Filmed over the course of six years, (((((/*\))))) captures the unique atmosphere of the Indigenous group’s Chiapas village. Gradually, political themes come to the surface. 

On a summer day the animals in the forest are invited to a party. They eat lots of cake and dance all night. When the party is over and they head back to their homes, they encounter a desolate landscape: there are no more trees to find food and refuge. Strange Creatures have stolen their homes.

In August 1984 a house inhabited by migrant workers was burnt down in Duisburg, killing seven members of a family. While the police immediately ruled out racism as a reason, the survivors continue to doubt that it was a coincidence that their house was set on fire.

When the mayor of a little village decides to take in forty refugees, a wave of dislike and hatred befalls him and his family. The short animation tells of a fight against fear and the courage to stand up for your convictions despite the threat of one’s life.

When Abou from Mali finally made it to Europe, it felt like a new life had started for him. A life with a future. But while his film about his voyage to Europe is shown all over the world, he lives isolated in a German refugee home. An essayistic reflection about Europe’s invisible borders and filmmaking as an act of self-empowerment.

Twenty pictures have remained as the only evidence of my early childhood's home - evidence of an almost forgotten home. When I look at these images I have the feeling that they are not part of my life, as if they belonged to someone else...

Introvert Hakan and merry Murat are inseparable. The meet each day, hanging around at their corner in Berlin's Kreuzberg neigbourhood, smoking grass, philosophizing and quarreling. Their days are repetitive, time passes by. All of a sudden hope for change is growing.

‘Tiefenschärfe’ interrogates places in Nuremberg where the so-called National Socialist Underground (NSU) committed three murders between 2000 and 2005. It is a circular observation that contextualises the crime scenes by means of their surroundings, that reads in their markings and shows the way they are used or have been adapted today.

Ariana (12) loves to dance with her hairy friend, Mikey her dog. Sadly, she has a ticking bomb inside of her: two kidneys that are not working. If she wants to continue dancing, she must find a donor. She is determined to look for one by posting an online video. But how should you make a video about something that you’re actually so scared of?

A smile travels through the world of sadness being transformed by emotions and thoughts…

Bai Lu, a 12-year-old girl in a small village in China, is forbidden to attend her beloved grandmother’s funeral as she is experiencing her first period. Bai Lu does not understand
why her menstruation is considered ‘ritually unclean’. She tries to bid farewell to her grandmother in one final journey to pay homage.

SilencioVozRuidois a documentary that tells, through photographs, objects and documents from the family archive, the experience of the director during the first years of his life with Pierre Robin syndrome. The documentary is an intimate, personal journey of reinterpretation of the images anchored in the memory. A journey to the past to understand the present.

Nathan is a stubborn thirteen-year-old boy. Driven by his new friend Malik, he prepares himself for a strange ritual to become a member of a teenage gang. In order to look strong to the other kids, Nathan scarifies a cross on his chest, hoping it will prove his willpower.