Distribution

This film developed from footage shot for Your Touch Makes Others Invisible, a documentary on enforced disappearances among Sri Lankan Tamils: an interview with a mother whose son vanished towards the end of the war. Returning to the material, I confront how her testimony resisted my original framework. This version explores the distance between us, ethnographic and colonial lenses, and the limits of cinema as witness.

A confused figure wanders between macho fantasy and identity loss, shifting from wannabe gangster to failed businessman. She searches through city, forest, and construction sites for something ‘bigger’. She isn’t sure exactly what’s missing, but mentions having a gun instead of a penis between her legs. The absurd quest ends with dusty hair at the lake, where she encounters a small group and ask them if they sell penises. This triggers chaos, and the scene escalates.

So, now I’ve ended up here. A bump at the tip of England with the prettiest pebbles in the world. Shingle, they call it here. A cottage full of memories and ghosts, perhaps. I’m allowed to stay for two weeks. I have the cottage completely to myself. The nights are cold, but I sleep warm in the big bed made of dark wood, which is like a boat.

August, who lives in the small town of Blomstermåla, is deemed unfit for military service. But as Sweden rearms and Preparedness Week reaches his small community, he is given the chance to explore both his own and others’ willingness to defend their country.

In the 1990s, Agata leaves Poland for Belgium. Anxious about her journey, the little girl writes a letter to her father, but her pencil falls out and gets lost on the bus. Forced to overcome her shyness, she crawls between the seats, plunging into a fantastic world populated by strange half-human, half-animal passengers. Her eyes transform the reality of migration into an initiatory experience.

Five lives intersect in Berlin’s Europacity development area: a nicotine-addicted student, a militant activist for the Corsican cause, a dead landlord, a blind photographer, and a man who reads pictures.

He saw Odysseus in a boat on the Aegean Sea, and since then he knew he might never come home again.

The female body as a site of power, beauty, labour, exposure, violence, control and politics. In an imaginary changing room, women perform everyday routines and explore each other and themselves. Beneath the surface of confidence or a curated appearance, the same ancient tensions persist. Between pride and pressure. Between natural and performative. Between autonomy and objectification.

A scam call draws an artist into a tender exchange on heartbreak and the incapacity to work – revealing her quiet complicity in the very structures she set out to critique.

On a rainy day, ripples tremble in a culvert.

1986. Eight-year-old Sunny wonders why the world puts up with all its problems. In the year 2022, she has become the photographer Sandra; she has just moved into an inherited house in the country with her family. Even though everything is actually fine in her little life, she keeps feeling the urge to jump from very high up: Call of the Void.

In the guise of a techno-punk track, Erst zahlen, dann malen! (First pay, then paint!) exposes the economy of artistic substance. Material mogul Bösner becomes the needle visual art is hooked on. The precariat provides credibility, the hobbyists the capital. A paradox: Will AI turn artists and dealers into dispensable relics in the end? A nihilistic completion of ‘paint by numbers’.

A look back at the Hamburg-based band Egoexpress – at work in their studio and during a club performance.

Floating is a psychedelic visual collage to the track by the DJ and producer Myr. The film, based on 3D graphics from 2005 to 2025, combines digital fragments from archives with AI resampling, screen recordings and interface aesthetics. What arises is a visual diary about digital overstimulation and the circular temporality of data, between remembrance, technology and perception.

In Krabstadt, temperatures reach new extremes. At the Office of Development everybody works hard to meet the Sustainable Growth Goals, including the office plants. One day the plants go on strike and refuse to continue providing ecosystem services. Radical and loud, the plants attack human art and demand degrowth policies.

The poetic documentary shows what sustainable space travel could look like.

TEll A ViSiON performs her song IDLU in a raw, one-take performance in an almost empty White Cube. Black suit, Silvertone guitar, amp, cables and effect pedals, that’s all there is. The reduced presentation puts the focus completely on the artist and her performance. The image is almost totally black and white: red lipstick and yellow pedals are the only colour highlights. Manually operated lighting immerses TEll A ViSiON in brightness and deep darkness. She moves between distance and proximity to the camera, comes up very close in the dark; the moment turns intimate. Camera and artist merge and make the raw, direct energy of the performance tangible.

A mother travels alone with her three-month-old child to a house by a river. Her sense of loneliness grows ever stronger until she makes a surprising gesture of liberation. The river flows, time passes. She meets a stranger from the village. And she discovers a new sense of complicity with her child.

Amid rough times and the tangled jungle of male identity, 13-year-old boxer Ilias seeks stability both in and outside the ring.

On Reunion Island, little Four Eyes and his grandpa try to turn a chicken into a dodo bird, whose magic feathers might save the kid’s sick mother.

Leaks in the Lines combines laser etching, phytograms and 8 mm film footage to explore tensions between organic growth and imposed order. Drawing from Jacques Boyceau de la Baraudière’s 1638 landscape design manual Traité du jardinage, the film builds a visual system that destabilises as control begins to fracture.

A poetic journey into an untranslatable Kazakh word, whose meaning deepens with every passing moment, crossing oceans of time and distance to reveal the profound, unspoken bonds that tie us to our past.

On 9 February 2022, four friends in Kyiv discuss the situation: There are 120,000 Russian soldiers at the borders – what will happen?

This film is the result of an art project with kids at an elementary school. Using a special animation technique, children turned moments from school life into hand-drawn animations. The footage blends real school experiences with each child’s unique animated interpretation. This work was born from observations of school life and creative exploration in a unique space.

When the world is friction, lube isn’t a luxury. It’s a necessity. It’s how you turn that friction into pleasure, into power, into pride. I want people to understand that they can still have a voice no matter who they are or what the world says about them. (Peaches)

On May 8 in Chile, the streets belong to women. All generations and classes participate in the feminist demonstrations. They call for legal abortion, protest against domestic violence and the repression of indigenous peoples, and much more.

Three young adults arrange to meet in a park using a dating app. The more deeply they go into the thicket, the more remote the previous world appears.

Opera is an experimental film that explores perception through a filmic collage constructed with the help of a single light source. Through layered manipulation of that single source, the frame gains the rhythm of multiple sources and a play of light that transforms space and perception. This is a film about how an image can conceal reality – and what happens when it can no longer do so.

A melancholic reflection on returning to the place where love and injury began. The video consists of VHS footage – my first recording with a camera – showing my grandfather washing the Dachshund Fips.

He sits in the driver’s seat doing a crossword. Another person hurt himself badly on the bottom. And I do not want to imagine it, because it is a disgrace to separate the backside from a person. Because it is disgraceful. There are places that spread out like poppies in a wild meadow. I am thinking, of course, of red south.

This is a reflection of LOVE; unconditional love, unpacked and refracted at many angles. The Drawings evoke the Divine Feminine concept, with the face of director Christina Romano interpreted by the hand of a friend. The inner and outer visions mixed together. As I stand up to express; form, inside a breath. Beauty is a serious thing time forgets.

A wedding video recorded over three decades ago reveals the hidden secrets of a Basque family, unravelling untold stories and emotions that seemed long forgotten.

In post-genocide Rwanda, a young woman searches for her voice in a world shaped by inherited trauma. Through fragments of memory, dream and silence, past and present intertwine. FLOW! explores intergenerational memory and identity, tracing how the aftermath of history inhabits the next generation and transforms inherited silence into a personal reckoning.

A tragicomic musical delirium, where the artist’s body dissolves into computer-generated fragments. The piece explores the loneliness and estrangement of a life mediated by screens: corrupted files, accumulated dust and broken digital memories accompany a solitary, almost ghostly desire.

For Henry, the community garden is his escape from the daily toil in the city. However, the day has come for it to be demolished. Henry and his community can’t agree on how to save it.

On the 24th of June 2024, mum bought me a toaster, and my life has changed forever.

These are video letters I exchanged with myself. Happy memories, sad memories. They become the past the moment they are put into words. Poetry is the beauty of memories. A streak of moonlight. I dedicate this film to Kurumi, a cat fighting illness, and to my daughter Hana, who is in the midst of a difficult situation.

Black-and-white 16 mm images show a wood, dappled light, leaves, tree-tops and movement. The film also reveals traces of its hand processing, for which a plant-based developer was brewed from leaves from that very wood. The Pet Shop Boys video draws attention to what would disappear through the proposed destruction of this unique Emmaus Wood in Berlin-Neukölln.

Until It’s Hard To Tell unfolds in Sırlı Hek’yat, a hidden land made of fragments, shadows and memory. Its fragile inhabitants speak a universal, broken language of survival. The film blends shadow theatre and nomadic forms, letting image, sound and subtitles drift together, opening space not for stories told, but for what cannot be spoken.

It wasn’t an ordinary morning for the girl who woke up. Did she really get out of bed?

A meandering stroll through constantly changing visual spaces; cloned figures get into cubist cars, swipe repeatedly over the screens of their telephones and tablets. We are never sure whether we are inside or outside, in the space or on the surface, in analogue or digital – or in both simultaneously.

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.

This film developed from footage shot for Your Touch Makes Others Invisible, a documentary on enforced disappearances among Sri Lankan Tamils: an interview with a mother whose son vanished towards the end of the war. Returning to the material, I confront how her testimony resisted my original framework. This version explores the distance between us, ethnographic and colonial lenses, and the limits of cinema as witness.

The people are in turmoil. The ground from which their enchanted garden grows trembles. Between bushes and trees, beds and wells, everyone here has lost their way on their own. Their eyes look for paths, their hands try to remember. Sometimes they catch sight of something. Sometimes they listen attentively. They hear a whispering, a soft promise. They follow the petals downriver. Onwards.

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.

An old orchard through the seasons, organ music, a 17th-century classification of plants, porcelains with floral motifs: Arbor, Cremium, Frutex, Herba attempts to convey, through the use of different representations, a way of inheriting a landscape.

So, now I’ve ended up here. A bump at the tip of England with the prettiest pebbles in the world. Shingle, they call it here. A cottage full of memories and ghosts, perhaps. I’m allowed to stay for two weeks. I have the cottage completely to myself. The nights are cold, but I sleep warm in the big bed made of dark wood, which is like a boat.

August, who lives in the small town of Blomstermåla, is deemed unfit for military service. But as Sweden rearms and Preparedness Week reaches his small community, he is given the chance to explore both his own and others’ willingness to defend their country.

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

A pre-apocalyptic pastel daydream. We aren’t relaxed, we aren’t carefree, we’re pathologically unable to care.

“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 female body as a site of power, beauty, labour, exposure, violence, control and politics. In an imaginary changing room, women perform everyday routines and explore each other and themselves. Beneath the surface of confidence or a curated appearance, the same ancient tensions persist. Between pride and pressure. Between natural and performative. Between autonomy and objectification.

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.

On a rainy day, ripples tremble in a culvert.

‘Issues / often have two sides / You can turn them to suit yourself / War is suddenly called peace / shells Leonids / My sofa has a problem with me //’ A rubber slipper, sickle and hammer, mosquito spray, a foot mat with the Little Mole on it, an egg cutter and several other things while away the time on planet Earth at five past 12. With excerpts from Koyaanisqatsi, Zabriskie Point, Terminator and other found footage.

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.

That’s the toilet, right? And what should be done here? This toilet is already fully designed. What else am I supposed to do here? Be an fine design or what? So what comes out of this toilet? It's a toilet bowl. Three different odours come out of it or do they go in? Three components.

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...

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.

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.

In Krabstadt, temperatures reach new extremes. At the Office of Development everybody works hard to meet the Sustainable Growth Goals, including the office plants. One day the plants go on strike and refuse to continue providing ecosystem services. Radical and loud, the plants attack human art and demand degrowth policies.

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 poetic documentary shows what sustainable space travel could look like.

Sometimes it is a smell | A fibre a ray of light | A beech leaf that falls at your feet | A raindrop on your shoe | An eyelash on your cheek | Everyday snapshots | You recall details | Five ten twenty years later | The shooting stars of what is past | In the disused tunnel of the conscious |

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.’

A film in one shot: nine men in football gear stand next to each other with their arms around one another’s shoulders. One breaks away from the group and leaves the picture to the left. The others follow him with their eyes with a certain tension, but then the group falls apart. Each man shows disappointment about what happened outside the picture in a different way. The unity of the group cracks before they join together once more to watch from a distance as a player from the opposing team scores. They leave the picture. The match, of which we saw nothing, is lost.

K-BOB STAR turns a Korean grandmother into a fictive K-pop icon. The film combines pop culture with personal stories and interrogates concepts of age, work and femininity. The film uses performance and re-texted and reinterpreted songs to crack stereotypes and opens new perspectives on generations and identity.

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

Leaks in the Lines combines laser etching, phytograms and 8 mm film footage to explore tensions between organic growth and imposed order. Drawing from Jacques Boyceau de la Baraudière’s 1638 landscape design manual Traité du jardinage, the film builds a visual system that destabilises as control begins to fracture.

John and Yoko deep in the world of lovers of all kinds.

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

‘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.

On 9 February 2022, four friends in Kyiv discuss the situation: There are 120,000 Russian soldiers at the borders – what will happen?

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.

Three young adults arrange to meet in a park using a dating app. The more deeply they go into the thicket, the more remote the previous world appears.

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

Plan B is a short dance film about waiting. A brief glimpse at three young men as they are waiting for their laundry.

Prayer for Taiwan is an audiovisual composition. The melody is based on Bądarzewska’s Maidens Prayer, which is used in Taiwan as a signature tune for rubbish collection. As a result of the reappraisal of the history of the military dictatorship under Chiang Kai-shek, many of his sculptures have been removed from public spaces and reinstalled at Cihu Memorial Sculpture Park.

While non-binary representations are rare, Lou talks about their relationship to gender, clothes, and other markers.

A melancholic reflection on returning to the place where love and injury began. The video consists of VHS footage – my first recording with a camera – showing my grandfather washing the Dachshund Fips.

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.

When we are ill, all, all we want is not to be ill anymore. The filmmaker sees a swan on the duck pond and dreams with long Covid of the realm of the healthy. An essay about enchanted invalids and dreaming birds.

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.

A wedding video recorded over three decades ago reveals the hidden secrets of a Basque family, unravelling untold stories and emotions that seemed long forgotten.

‘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 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.

On the 24th of June 2024, mum bought me a toaster, and my life has changed forever.

Top Down Memory deals with the manipulations of history in the context of the reconstruction of the Berlin Palace. Starting from the confusions surrounding an alleged proclamation of a socialist republic from one of its balconies in 1918, it examines events that occurred on balconies to raise questions about authenticity and manipulation.

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.

Until It’s Hard To Tell unfolds in Sırlı Hek’yat, a hidden land made of fragments, shadows and memory. Its fragile inhabitants speak a universal, broken language of survival. The film blends shadow theatre and nomadic forms, letting image, sound and subtitles drift together, opening space not for stories told, but for what cannot be spoken.

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

It wasn’t an ordinary morning for the girl who woke up. Did she really get out of bed?

An introspective documentary that connects the cinema space and the ritual of watching with memories and dreams.

The people are in turmoil. The ground from which their enchanted garden grows trembles. Between bushes and trees, beds and wells, everyone here has lost their way on their own. Their eyes look for paths, their hands try to remember. Sometimes they catch sight of something. Sometimes they listen attentively. They hear a whispering, a soft promise. They follow the petals downriver. Onwards.

Sky over Swiss mountain peaks, wood, clouds, sneakers swirling, falling, bobbing and weaving through the air, solo, in groups, in flames, with flowers, cushions, gold coins, weightless supercars; someone is constantly racing on a bike down a high-rise towards the urban abyss… light, floating and dramatic at the same time, like Giger’s composition, which the film images do not want to dominate but to merge with.

While they are working together in the garden, two sisters set off on a disturbing journey into their childhood to track down continuities of National Socialist education ideals. How much was their upbringing influenced by the Nazi manual The German Mother and Her First Child, which continued to be published until 1987 with a changed title?

A tour of a universe shaped with the voice, where you go up and down, where you should interact without saying everything.

In Dream In Dream, a flowing, surreal world of dreams unfolds. Places and figures from colourful snippets of collages constantly reassemble themselves. The main figure in the video tumbles from scene to scene in Alice in Wonderland fashion. She meets patchwork beings such as a mirror with legs; she wanders through a wood and traverses an apple. A dream in a dream in a dream.

History revolves around the Alexander Column on Palace Square, as if it were a cursed axis of time.

This video combines the Dadaistic art of Jonathan Meese with DJ Hell’s musical homage to Kraftwerk. It shows how the protagonists are cleansed by the theft of the biggest commercialisation of art. Only through machines are we finally completely cleansed – until the ultimate cleansing during the transformation into stardust.

Slowly, the bow of a ship pushes its way into the picture, filmed from above, from the bridge onto the ship deck. A variation of tuba sounds, Groombridge 34, played and composed by Carl Ludwig Hübsch, accompanies the continuously changing deck situation of a tanker, with its pipes, painted surfaces and further details, up to the fading away of the swirls caused at the stern by the ship’s propeller in the Rhine.

Crawlies is a soliloquy based on voice recordings of my schizophrenic uncle – an audiovisual exercise of mise en abyme that weaves a sensorial patchwork of memories from my childhood.

The memory of a day at work, capitalism, the snake biting its own tail. It was a dream. We get together among migrant friends, revelry and laughter. She tells us another memory; it could also be a dream. People from different places talking to each other at the train station, various stories flowing like the river.

Using found footage from a CCTV recording, combined with a composed collage, Duoni creates an audiovisual dialogue that intertwines recordings of various emergency calls with the art song Lorelei. The video explores the persistent issue of gender inequality throughout the centuries.

K-BOB STAR turns a Korean grandmother into a fictive K-pop icon. The film combines pop culture with personal stories and interrogates concepts of age, work and femininity. The film uses performance and re-texted and reinterpreted songs to crack stereotypes and opens new perspectives on generations and identity.

The voices we hear are completely AI-generated – a deliberate device through which machines seemingly offer themselves to take over ruling the world. To make this current discourse less heavy and to create contrasts for further thought, we have given the AI-music in the video a counterbalance in the form of a handmade, analogue world of robots. Here, we found it important to cite popular future visions from the past: are we moving towards a utopia or a dystopia?

Two childhood best friends reconnect in Phnom Penh after years of separation. Chay, a Phnom Penh resident, helps Lyer, who comes from the countryside, get a job as a projectionist in the city. A film screening prompts them to wonder about their future together.

The song and, above all, the accompanying video were made in 2024 during Jeremias Heppeler’s residency in Tatsuno, Japan. There is much vacant housing in the small town; many life histories have left only traces. This circumstance, along with the marked belief in (nature) spirits, is addressed in looking @ ghosts by means of abstract dance, animation and masks.

Mkoum is about a community that is constituted by celebrating and dancing together, paying respect to those who have gone and preparing a new ground for those arriving. It is a community that has to be recreated at every moment. There are no secrets, but many things have to be learned.

A fairy tale tells of twins: one believes in property, the other rejects it. Their conflicts lead to their dividing the world in two and arguing so violently that one of them is torn into a hundred pieces. Documentary footage weaves the fantastic story with the present and creates a bridge to today.

Prayer for Taiwan is an audiovisual composition. The melody is based on Bądarzewska’s Maidens Prayer, which is used in Taiwan as a signature tune for rubbish collection. As a result of the reappraisal of the history of the military dictatorship under Chiang Kai-shek, many of his sculptures have been removed from public spaces and reinstalled at Cihu Memorial Sculpture Park.

A music video about people with different realities, and pigeons.

When we are ill, all, all we want is not to be ill anymore. The filmmaker sees a swan on the duck pond and dreams with long Covid of the realm of the healthy. An essay about enchanted invalids and dreaming birds.

There was a plan to build a cinema in the cliffs – it might have been here. Sinkhole is a poetic response to the archive and oral histories of Tyneside Cinema, an independent cinema in north-east England which has faced many waves of crisis. Through imagined vignettes, Sinkhole meditates on grand visions and being near to collapse.

Uprooted and regrowing; winding through the veins of a building. A cleaner and a student, two itinerant women, met. She crossed, she crossed, they crossed... ‘But life continues,’ she said.

Philipp Gufler’s short film is made up of a performance by the artist and film scenes of archive material relating to queer and transgender content. Divided across two sides, in the 19-minute piece we witness explicit, low-threshold expressions of sexuality that breaks with the norm.

‘I embrace strangers, I lose my friends.’ Dependent, but always wary of thousands of ‘friends’. A back-and-forth of closeness and distance, division and multiplication, uniformity and difference. The ego between humanity and troll army, algorithmic propaganda and community, as a commodity in the escalation machine of the internet.

The overall theme of Vernacular Dreamscapes is nature as a zone of the unknown and uncanny, an alien and alienated territory, a deserted zone. This is counteracted by the appearance of dreamlike and absurd phenomena and inscrutable cavernous architecture. A stringent plot is never revealed; reality remains vague. The zone is inhabited by places, dreams, voices, supernatural creatures and artifacts.

The traces of three characters, Maria, Daniel and Jackpot, can be read as an experimental coming-of-age film. The stories merge autobiographical and fictional elements into a dense poetic space, showing the interactions between personality development, family influences and social constraints. What effects do intergenerational traumas have on the psyche, on desire, on the construction of our identity?

A wedding video recorded over three decades ago reveals the hidden secrets of a Basque family, unravelling untold stories and emotions that seemed long forgotten.

1986. Eight-year-old Sunny wonders why the world puts up with all its problems. In the year 2022, she has become the photographer Sandra; she has just moved into an inherited house in the country with her family. Even though everything is actually fine in her little life, she keeps feeling the urge to jump from very high up: Call of the Void.

These are video letters I exchanged with myself. Happy memories, sad memories. They become the past the moment they are put into words. Poetry is the beauty of memories. A streak of moonlight. I dedicate this film to Kurumi, a cat fighting illness, and to my daughter Hana, who is in the midst of a difficult situation.

A poetic journey into an untranslatable Kazakh word, whose meaning deepens with every passing moment, crossing oceans of time and distance to reveal the profound, unspoken bonds that tie us to our past.

In post-genocide Rwanda, a young woman searches for her voice in a world shaped by inherited trauma. Through fragments of memory, dream and silence, past and present intertwine. FLOW! explores intergenerational memory and identity, tracing how the aftermath of history inhabits the next generation and transforms inherited silence into a personal reckoning.

Amid rough times and the tangled jungle of male identity, 13-year-old boxer Ilias seeks stability both in and outside the ring.

Until It’s Hard To Tell unfolds in Sırlı Hek’yat, a hidden land made of fragments, shadows and memory. Its fragile inhabitants speak a universal, broken language of survival. The film blends shadow theatre and nomadic forms, letting image, sound and subtitles drift together, opening space not for stories told, but for what cannot be spoken.

On 9 February 2022, four friends in Kyiv discuss the situation: There are 120,000 Russian soldiers at the borders – what will happen?

He saw Odysseus in a boat on the Aegean Sea, and since then he knew he might never come home again.

A confused figure wanders between macho fantasy and identity loss, shifting from wannabe gangster to failed businessman. She searches through city, forest, and construction sites for something ‘bigger’. She isn’t sure exactly what’s missing, but mentions having a gun instead of a penis between her legs. The absurd quest ends with dusty hair at the lake, where she encounters a small group and ask them if they sell penises. This triggers chaos, and the scene escalates.

In the guise of a techno-punk track, Erst zahlen, dann malen! (First pay, then paint!) exposes the economy of artistic substance. Material mogul Bösner becomes the needle visual art is hooked on. The precariat provides credibility, the hobbyists the capital. A paradox: Will AI turn artists and dealers into dispensable relics in the end? A nihilistic completion of ‘paint by numbers’.

A look back at the Hamburg-based band Egoexpress – at work in their studio and during a club performance.

Floating is a psychedelic visual collage to the track by the DJ and producer Myr. The film, based on 3D graphics from 2005 to 2025, combines digital fragments from archives with AI resampling, screen recordings and interface aesthetics. What arises is a visual diary about digital overstimulation and the circular temporality of data, between remembrance, technology and perception.

TEll A ViSiON performs her song IDLU in a raw, one-take performance in an almost empty White Cube. Black suit, Silvertone guitar, amp, cables and effect pedals, that’s all there is. The reduced presentation puts the focus completely on the artist and her performance. The image is almost totally black and white: red lipstick and yellow pedals are the only colour highlights. Manually operated lighting immerses TEll A ViSiON in brightness and deep darkness. She moves between distance and proximity to the camera, comes up very close in the dark; the moment turns intimate. Camera and artist merge and make the raw, direct energy of the performance tangible.

When the world is friction, lube isn’t a luxury. It’s a necessity. It’s how you turn that friction into pleasure, into power, into pride. I want people to understand that they can still have a voice no matter who they are or what the world says about them. (Peaches)

On May 8 in Chile, the streets belong to women. All generations and classes participate in the feminist demonstrations. They call for legal abortion, protest against domestic violence and the repression of indigenous peoples, and much more.

A melancholic reflection on returning to the place where love and injury began. The video consists of VHS footage – my first recording with a camera – showing my grandfather washing the Dachshund Fips.

He sits in the driver’s seat doing a crossword. Another person hurt himself badly on the bottom. And I do not want to imagine it, because it is a disgrace to separate the backside from a person. Because it is disgraceful. There are places that spread out like poppies in a wild meadow. I am thinking, of course, of red south.

This is a reflection of LOVE; unconditional love, unpacked and refracted at many angles. The Drawings evoke the Divine Feminine concept, with the face of director Christina Romano interpreted by the hand of a friend. The inner and outer visions mixed together. As I stand up to express; form, inside a breath. Beauty is a serious thing time forgets.

Black-and-white 16 mm images show a wood, dappled light, leaves, tree-tops and movement. The film also reveals traces of its hand processing, for which a plant-based developer was brewed from leaves from that very wood. The Pet Shop Boys video draws attention to what would disappear through the proposed destruction of this unique Emmaus Wood in Berlin-Neukölln.

A meandering stroll through constantly changing visual spaces; cloned figures get into cubist cars, swipe repeatedly over the screens of their telephones and tablets. We are never sure whether we are inside or outside, in the space or on the surface, in analogue or digital – or in both simultaneously.

A tragicomic musical delirium, where the artist’s body dissolves into computer-generated fragments. The piece explores the loneliness and estrangement of a life mediated by screens: corrupted files, accumulated dust and broken digital memories accompany a solitary, almost ghostly desire.

The female body as a site of power, beauty, labour, exposure, violence, control and politics. In an imaginary changing room, women perform everyday routines and explore each other and themselves. Beneath the surface of confidence or a curated appearance, the same ancient tensions persist. Between pride and pressure. Between natural and performative. Between autonomy and objectification.

Opera is an experimental film that explores perception through a filmic collage constructed with the help of a single light source. Through layered manipulation of that single source, the frame gains the rhythm of multiple sources and a play of light that transforms space and perception. This is a film about how an image can conceal reality – and what happens when it can no longer do so.

So, now I’ve ended up here. A bump at the tip of England with the prettiest pebbles in the world. Shingle, they call it here. A cottage full of memories and ghosts, perhaps. I’m allowed to stay for two weeks. I have the cottage completely to myself. The nights are cold, but I sleep warm in the big bed made of dark wood, which is like a boat.

A scam call draws an artist into a tender exchange on heartbreak and the incapacity to work – revealing her quiet complicity in the very structures she set out to critique.

On a rainy day, ripples tremble in a culvert.

August, who lives in the small town of Blomstermåla, is deemed unfit for military service. But as Sweden rearms and Preparedness Week reaches his small community, he is given the chance to explore both his own and others’ willingness to defend their country.

A group of 16- to 18-year-old friends is spending a weekend in the holiday home of their parents. The film starts in daylight and merges into the darkness of an excessive and scattered night while we accompany six characters in its profit from knowledge and the experience of incomprehension and uncertainty.

Munich, 2016. Model Max has got lost. His hotel is nowhere to be found. But, as everyone keeps telling him, it doesn't matter - the model-murderer is already haunting him.

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.

After Ms. Schröder yells at the pupil Benny during a school excursion, she doesn’t go to class any more. When a rumour about a runaway bear reaches her, she investigates the matter. Between a rendezvous with Martin and a white poodle, Ms. Schröder goes about the city. Before she knows it, she is playing a cat-and-mouse game with the stray bear.

Three young adults arrange to meet in a park using a dating app. The more deeply they go into the thicket, the more remote the previous world appears.

This film is the result of an art project with kids at an elementary school. Using a special animation technique, children turned moments from school life into hand-drawn animations. The footage blends real school experiences with each child’s unique animated interpretation. This work was born from observations of school life and creative exploration in a unique space.

On Reunion Island, little Four Eyes and his grandpa try to turn a chicken into a dodo bird, whose magic feathers might save the kid’s sick mother.

For Henry, the community garden is his escape from the daily toil in the city. However, the day has come for it to be demolished. Henry and his community can’t agree on how to save it.

In the 1990s, Agata leaves Poland for Belgium. Anxious about her journey, the little girl writes a letter to her father, but her pencil falls out and gets lost on the bus. Forced to overcome her shyness, she crawls between the seats, plunging into a fantastic world populated by strange half-human, half-animal passengers. Her eyes transform the reality of migration into an initiatory experience.

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

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.

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.

Danny, Damian and Caroline pile into the house, backwards, but with a sure sense of direction. They say that they are here and that music is important to them. That it is their friend. That they dance to it, they and everyone. That they like Lilla Coke and Ghostbusters. And in summer, they picnic, sing, rattle, knit, swing, cuddle, enjoy themselves together with their house-mates and staff under shady trees in the idyllic garden that they call Reitbrook. They do not suspect that they are quoting the painting entitled ‘Le Déjeuner sur l'herbe’ (1863) by the Impressionist painter Édouard Manet.

The video is based on found footage of showering people of both sexes.

‘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 ...

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

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.

CLIMBER: “In us: the last bytes of humanity and duty, to keep them alive for those that come after us.” EURYDICE: “Climb! Don't turn round!” - “Stay at the bottom! I'll go out, the air is thin ...” – she laughs: “... and green, colour that makes assertions” – “Black blurring, flight of birds” – “Reality that we constantly concoct in the studio.”

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

How would it be to be the richest person in the world someday? You only need enough high-resolution photos of Elon Musk and a few good moves. The rest is done by the deepfake algorithm.

NOAH explores the lives of three real people in three different cities: Montreal, London and Berlin. Utilizing the city’s aging phone booths as a focal point, the video explores how the tools we use to communicate shape the ways in which we connect to each other. When old tools disappear, those forms of connection die with them.

The video is an exploration into the human emotion of disgust. It dives into images we often avoid and recontextualizes those that usually bring us pleasure, juxtaposing delicious moving images with repulsive ones in order to bring new life to these free stock clips gathered from around the internet.

The first single from the collaboration project between artist Jonathan Meese and DJ Hell, entitled ‘Dr No’, set to a collage-style video consisting of behind-the-scenes material from the studio and a variety of other elements.

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!

‘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.

A music video influenced (like the music) by the works of feminist writer Angela Carter with the theme of hybridity – human snails and snail-like humans, human mushrooms and mushrooms with human skin, hermaphrodites and men without genitals… Chimeric protagonists performing useless, pointless, Sisyphean tasks. Overloading the AI to make it hallucinate, thereby transforming it into a dream machine…

‘Issues / often have two sides / You can turn them to suit yourself / War is suddenly called peace / shells Leonids / My sofa has a problem with me //’ A rubber slipper, sickle and hammer, mosquito spray, a foot mat with the Little Mole on it, an egg cutter and several other things while away the time on planet Earth at five past 12. With excerpts from Koyaanisqatsi, Zabriskie Point, Terminator and other found footage.

In 1998, filmmaker Barbara Hammer had a filmmaking residency without water or electricity.  In 2018, Barbara began her own process of dying. She gave her material from the residency to Lynne Sachs who explored Barbara’s experience of solitude. Lynne places text on the screen as a confrontation with a somatic cinema, bringing us all together in multiple spaces and times.

In the year 2020, when the world was forced to ‘change’, I wanted to confirm what changed and what did not change in me. The white mask I wore became the screen projecting my past. My family is sometimes hurt, but support me as I suffer from schizophrenia. We live today while looking for the answer to ‘Who are we?’

A vacation house in a rural Swedish forest setting is observed by mysterious forces transforming into modern ghosts in city life. Shifting into forms of what we cannot yet deal with. Kaleidoscopic visuals following a constant shift between micro and macro perspective inform the form and narrative in this experimental hybrid art movie exploring film from a post-humanist perspective.

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.

A young man who has just finished handling his parents’ funeral attempts to purchase fireworks for the 2023 Spring Festival, where fireworks are prohibited.

Some days she imagines that by her sheer will she can make body parts fall off of people who seem vicious to her. And some other days everyone around her looks beautiful. And when she was little, she wished that flowers would grow out of her footprints.

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.

That’s the toilet, right? And what should be done here? This toilet is already fully designed. What else am I supposed to do here? Be an fine design or what? So what comes out of this toilet? It's a toilet bowl. Three different odours come out of it or do they go in? Three components.

A marvellous biopic about the most successful living painter. The AI hybrid film explores painting caught between creativity, capital and spirituality in an era of artificial reproducibility. Gerhard’s revolutionary squeegee technique inspires artists worldwide, is adapted and marketed, while the mythos of the ‘genius’ is written into a uncontrollable generic chain of creation.

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 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. 

The magical, the dreamlike and the performative coexist in the particular world of "Las Traviesas" – a group of trans women from the Embera community, living and working in the Colombian coffee region. An aesthetic and conceptual universe with a particular stamp, in which documentary and fiction are indistinct palettes to draw the struggle to maintain indigenous identity.

This film draws a parallel between an episode of Julius Caesar's "Gallic War" and a choreographed digest of the history of the Twist.

Plan B is a short dance film about waiting. A brief glimpse at three young men as they are waiting for their laundry.

‘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.

We haven't gone viral.

What do we say when we don’t talk? "Dancen" looks at the fleeting impulses that live in between moments of the day. Their precise quality is situated between quiet habits: that is, the space inhabited by yearning, daydreams, surrealism. How would a day look made of just the meaning in between the lines, the momentary glimpses of truth?