2pm I love people who doubt (56’)
« I love people who doubt,
people who listen too much to their swinging hearts
I love people who talk,
and who contradict themselves, and without backing down » (A.S.)
#fridaysforoffline (1′ – 2021) / Kuesti F. (Germany)
Campaign for a better world.
Schrödinger’s cat is (not) dead (0’57 – 2022) / Milica Denkovic (Serbia)
Two opposing views of the same situation to create two alternative realities, or parallel worlds, using Schrödinger’s cat thought experiment as an underlining concept. The cat cannot be dead or alive at the same time. And that is confusing.
Palimpsest (6’05 – 2021) / Mohamed Osman Kilani (Tunisia)
A name is a spell; and a key. If you know how to read… The director explores the several layers of identity hidden between the lines of his forename.
Jardins Paradise (5’24 – 2020) / Yza Nouiga (Canada)
Garden of Eden, jardin à la française, English, Zen, Bahai, Arab-Islamic, etc. Gardens reflect history, culture and heritage. They are some of the rare places where intimacy, gatherings, fun and religion coexist. Jardins Paradise ironically diverts the image of the garden as the embodiment of some paradisiacal Eden. It highlights the civic inventiveness of communities stigmatized by a lack of greenery in their neighborhood as well as the contribution of ethnocultural diversity to the urban landscape.
Kapitola (15′ – 2021) / Francisca Saez Agurto & Pavel Ruzyak & Pulpy Shilpy & Roberto Santaguida (Germany)
Old video footage of a birthday party is examined by a great-great-nephew who tries to make sense of the scene, which he is not the first to find embarrassing.
Le vacillement des cathédrales (1’24 – 2020) / Lorraine Turci (France)
Uncertain images, containing both the sublime and the lost, are animated in the strange vibration of a contemplative experience, with the desire to reach the beats of the world.
Howe Are You Island? (6’22 – 2020) / Frances Adair Mckenzie & Alisha Piercy (Quebec)
In the form of a critical fable, Howe Are You Island? examines the problems arising from our way of life and asks what connection with the environment and other species it will be possible to establish in the future.
Feriado (2’06 – 2021) / Azucena Losana (Mexico)
The electromagnetic landscapes of Sao Paulo and Rio de Janeiro go on an irregular basis and it is possible to see what is outside the frame. The image is accompanied by the poem “E se Jesus fosse preto” (And if Jesus was black) by Bruno Negrão, which proposes to reinvent some of our most deeply rooted beliefs.
Dans la poche de l’univers (9’30 – 2021) / Pierre Villemin (France)
A story made by a man who observes phenomena. Appears a strange character with whom he comes into contact...
Feu (6’20 – 2022) / Lilas Descottes (France)
Jean and Luc discuss memories, dreams and existence, in a burning world that is reaching its end.
3.30pm The constant noise of machines (57’)
« The constant noise of machines
Which beats, which beats, which beats
Beaten for now
I’m barely able
To see the world in big » (M.)
Crystal Mountain (1’45 – 2022) / Chris May (USA)
A contemplative video art piece that explores the infinite nature of our world. Influenced by eastern mysticism, this generative digital landscape is designed to draw the viewer inward.
[IRVL] (7’59 – 2022) / Elsa Mathilde Muller (France)
Video games are full of bugs. I glean and archive these unplanned conversations, in order to document all the confusing social interactions I’ve observed IRL. The narrative is built around a scenic pattern of expectation, punctuated by short, pointless sentences. Hoping for some sort of adventure, waiting for a plot that is slow to unfold, watching for nothing.
#MarxwouldhavelovedmeifhehadaFBaccount (6’05 – 2020) / Giuseppe Vincent Giampino (Italy)
The artist bends his image to the chosen medium of representation, offering a dispersed and dismembered subjectivity. An image never unitary, fruit of the will not to make of the body; an object carrying intrinsic or ideological values in order not to subject it to expressions of quantifiable values.
Earth’s answer (19’40 – 2021) / Giulia Grossmann (France)
Wandering between the scientific and the psychedelic, we follow the train of thought of a man who could just as easily be an astrophysicist, a CERN archivist or a musician. In his mental and sensorially graphic journey, he leads us into a reflection on the infinitely large and the infinitely small, memory and machines, entropy… and the worlds in formation…
Borers (4’28 – 2022) / Shiyu Tang (China)
In such an impetuous and fast-paced society, what will we become of us when we consider the mobile phone as our ears, nose, mouth and eyes, and accept over-packaged information?
Regains (8’01 – 2021) / Théo Revelen-Bernard (France)
Made up of fragments of flowers picked in the vicinity of the studio and assembled over a period of three years into an impressionist painting in motion, this pictorial work is in line with the continuity of a daily DIY process that is entirely “home-made”. Its progress (from the scanner to the fields) would be the opposite of the usual process of making a filmic object.
Winning Hearts and Minds (5’55 – 2020) / Lilian Robl (Germany)
Reference to a method used primarily in strategic warfare in which the opposing side is not to be fought with physical force, but is manipulated emotionally or intellectually. For the video I worked with training films of the US Army Air Forces from the 1940s and overwrote their content with my own.
Origami (1’51 – 2020) / Maxime Corbeil-Perron (Quebec)
Origami plays with perspectives and dimensions. Fractals and luminous geometry are here liquefied by the cathode ray tube of a hacked television set.
5pm How I bite, how I bark (33′)
A programme in the frame of the International Day for the Elimination of Violence against Women.
(will also be presented on Friday, 25 for schools)
What you’re looking for?
You’ve never seen a woman fighting?
The dreary town with me,
And I’ll reveal to you
How I bite, how I bark! (C L)
Brides and Monsters (4’28 – 2021) / Neil Ira Needleman (USA)
For centuries, men have created visions of the ideal woman. And, for reasons that baffle me, many women have accepted that ideal and model themselves after it, making themselves slaves to ridiculous fashions and fads. Isn’t it time to put an end to this horror-movie madness?
Oh qu’elle est belle ! (1’15 – 2016) / Amélie Berrodier (France)
Surrounded, a little girl is watching the grown ups talking between them.
Iranshahr (1′ – 2019) Mahdi Kamranirad & Mary Moosa (Iran)
About 40 girls of Iranshahr city were raped and they fear to tell anyone even their families
who could kill them if they tell the police.
Music for waxing (2’14 – 2021) / Giulia Giannola (Italy)
Femininity, beauty, sweetness, interpreted with a little irony. The dancers perform their beauty ritual by waxing to the rhythm of tango. The tango that accompanies this action is an element of rigorous sensuality that is constantly played down by the tearing of the waxing strips.
La fin (1’13 – 2020) / Lamathilde (Canada)
Even in a very sweet virtual world, the end of patriarchy seems impossible. A call for struggle.
Look at you, black sheep! (1’49 – 2022) / Milica Denkovic (Serbia)
The film is of the insults the author had received throughout her life. The insults include allusions to mental illnesses and gender-based body shaming, raising verbal abuse awareness by including insults against people of different genders and identities. The director is not part of some of these minority groups but nevertheless included them for their insulting nature.
A requiem for Mary (2’26 – 2021) / Neda Mohseni (Iran)
War darkens the world. It covers all the beauties and buries teh women under the soldiers boots…
Don’t Text Your Ex (13’52 – 2021) / Jo Güstin (Canada)
Surviving a global pandemic being queer, cute and still in love with your ex.