Saturday November 12 from 2 pm : Welcome, Screenings, Performances, Discussions, Carte blanche

2pm No secrets are left except you (56’)

« Butterflies in the air
Ants on the ground
Each one is at its place
No secrets are left
except
Oh you, my roof
Oh you, my everything, my king » (E.M.)

100 Nuits avec Robert Walser (36’39 – 2018) / Anne Reulat (France)
It is winter. Beatrice, 25 years old, moves into a small apartment in the city. Beatrice receives friends and lovers and befriends the narrator, the owner of the apartment. Present or absent according to her moods, the narrator declares her attachment to Robert Walser. The relationship between Beatrice and this voice alternates between joyful friendship, mutual aid and jealousy. Spring arrives. After a new quarrel about the apartment, Beatrice disappears.

Piove (1’12 – 2021) / Vinz Beschi (Italy)
It’s raining. If they are flowers, they will bloom. If they are eyes, they will wonder. If they are good, I will eat them.

Reminiscencias (3’01 – 2019) / Mati Pirsztuk (Argentina)
There is a bridge between the present and the past and when you cross it, you come across memories, reminiscences and constants. Reminiscencias is an experimental video art short-film gathering places, people and old moments, based on different format videos from 2008 to 2018.

L’arbre (2’27 – 2021) / Chantal Partamian (Lebanon / Germany)
Super 8mm and 16mm footage and expired cartridges found and shot in Quebec reflect on words written in Beirut to create a melancholic postcard between both worlds.

Je marche à l’envers (8’43 – 2019) / Marie Léa Regales (France)
This is a video game. In this game, you have to create the perfect replica of the place where you grew up.

Un Corpo (A body) (2’10 – 2021) / Milena Tipaldo (Italy)
There are many definitions of the word “body”. We are not only talking about the human body, but also the animal body, the fruiting body, the celestial body, the metaphorical body. A voice-over using puns leads you through the lives of several of these bodies, and their common destiny.

3.30pm Oops, I did it again (54’)

« I’m not that innocent
Can’t you see I’m a fool in so many ways
But to lose all my senses
That is just so typically me » (B.S.)

Treetops (3’09 – 2015) / Dustin Morrow (USA)
An experimental film addressing the frustrations and limitations of trying to reproduce the world around us using cameras, sound recorders, and computers. No matter how hard we work at it, the tools we use have limitations.

The Stream XI (7’50 – 2020) / Hiroya Sakurai (Japan)
In the vicinity of the rice fields, the water follows artificial paths, giving rise to a new form of beauty distinct from the natural state. It is in the service of the economy and the distribution of goods that the water flows are created, as are the transportation networks. A movement in a giant circle.

Atomic Ghost (3’58 – 2021) / Cendrine Robelin (France)
Born on the beach near a nuclear power plant, Atomic Ghost gets rid of our programmed obsolescence waste that will still exist for hundreds of years. A film about the weight of the past and the desire to free oneself from it.

Very, Very, Tremendously (12’12 – 2021) / Guangli Liu (China)
Civilisation is a sewer. We think that garbage is the corpse of a commodity, because it loses its functionality, but we use a lot of 3d models of garbage in video games to decorate the virtual reality. We fill the volcano with residents’ excrement in the city simulation game. We make a living by scavenging wastes on real garbage mountains, earning a few dollars per day.

Inside Outside (5′ – 2021) / Elise Guillaume (Belgium)
Inside Outside addresses the entanglement of care and ecology in relation to co-dependent systems such as industrial agriculture, home cooking and concepts of wellness, with a focus on Belgian agriculture. As the cineast witnessed the constant labour involved in these fields, where rest and recuperation seemed only to take place in order for more to be grown, she began to explore the relationship between care and ecology.

Selfportrait. Please remember that You molded me like clay. Would You now return me to dust? (1’21 – 2020) / Maria Kazvan (Ukraine)
Realizing that we are all going to die gives me the power to move and fight my fears. I was made of clay and will return to dust. I am earth. I can also create new life. I am passion, ideas, energy, sex. My body grows, blooms. My body changes while I am alive. It will continue to change after my death because even death is alive.

Fear (3’42 – 2022) / Julius Zubavičius & Antanas Skučas (Lithuania)
Hello west Europe this is east calling. Inspired by Jiddu Krishnamurti. Timeless words explore the nature of fear and its effects on our lives.

Charger les frondaisons (5’10 – 2021) / Adrien Gaillard (Switzerland)
The thoughts of a passenger before her plane crashes in the jungle.

Satyre voilé (6’13 – 2021) / Charlotte Janis Rabuteau (France)
Science fiction biological tale about the revenge of algae, lichens and fungi on humans: the revolution of microorganisms. Video made in Bretagne, France, with microscopic shots.

Disparition (4’30 – 2021) / Anthony Rousseau (France)
Appropriation and detour of the mythical sequence from Stanley Donen’s film Singing in the Rain (1952) where Gene Kelly dances and sings in the rain. Here the graceful body that twirls with the elements is absent. Only the numerous digital artifacts of this presence and the shadows projected around it remain. This disturbing journey is accompanied by lipograms that echo this attempt at erasure.

5pm Words again, words ever (50’)

« Words again, words ever, the same words..
Just some words …
Magic words, tactical words which ring false
Yes, so false.
Words, words, words …» (D.)

The artist TV. Today: Sculpture Walk (4’44 – 2019) / Dario Ricciardi (Argentina)
In a parodic tone, the artist presents his different works, pretending to have knowledge that he does not have. He puts into play his role within the art circuit: the artist as producer, distributor and authoritative author of his own work.

Sonar (2’17 – 2021) / Alejandro Thornton (Argentina)
A poetic exploration of the relationships between landscape / language and sound / music.

Like This/Like That (3′ – 2017) / Tommy Heffron (USA)
“Let nothing be changed and all be different.” Robert Bresson.

Celebrity (1’53 – 2017) / Khalil Charif (Brazil)
A crowd is taking pictures, shooting continuous flashes toward the observer, from behind. Celebrity is us.

Emoticon (2’11 – 2021) / Padrick S Ritch (USA)
Part one of a series aimed to assist people to wean themselves off of social media. 

Ophélie (4′ – 2020) / Muriel Montini (France)
Words kill again and again.

Antfilm (2’15 – 2021) / Tetsuya Maruyama (Brazil)
How can one go against the system when you are part of it? 

Le complet bleu (3’45 – 2022) / Myriam Ariane Haccoun (France)
Five adult voices talk about studies they wished they had pursued, careers they didn’t succeed in, children they didn’t have, failed love affairs.  Their stories are edited over webcam footage shot during the 2020 lockdown.

Too Big Drawing (5’13 – 2021) / Genadzi Buto (Belarus)
The drawing extends beyond the paper questioning the real world.

The Last Debate (16’52 – 2021) / Emilie Rousset & Louise Hémon (France)
Sealed in an old bunker by the ocean, two presidential candidates face their final debate. Outside, the weather becomes increasingly threatening as storms roar and waves begin to rise.

Gil’s Pills (2’40 – 2021) / Julian Shine (USA)
Gil has pills, many pills, but you can’t buy them with money.

6.20pm Dance before you fall (56’)

« Now don’t you forget that we signed up
for the last dance,
and dance, dance before you fall. » (C.L.)

Unknown Hand (3’19 – 2021) / Saul Pankhurst (England)
An individual reflects on the inevitability of change, how we know ourselves and how we wish to be known. This film discusses the impact of degenerative illness on one’s sense of Identity and Authenticity, asserting an individual’s right to approach a major change in their health in a way that remains true to them.

Ghosts (5’49 – 2021) / (LA)HORDE (France)
Ghosts takes us into the Musée des Beaux-Arts of the Palais Longchamp in Marseille. When the museum closes, figures take over the deserted place. They cross the different rooms, embrace and tear each other, as if to recover their body, until their encounter with the night guard who will leave the museum at daybreak, possessed. Short film with the Ballet national de Marseille.

Leave Your Body (4’06 – 2021) / Natasha Cantwell (New Zealand)
Shot within the constraints of Melbourne’s ongoing COVID-19 lockdowns, Leave Your Body features the apartment where the filmmaker spent the better part of 2020 and 2021. However, where she sees a prison, her partner Sean sees a sanctuary. To him these five rooms are a fortress, not only protecting them from the virus, but also from the social pressure to interact with strangers. Portraying a fictitious version of himself (as well as the film’s various intruders) he defends his solitude while quietly losing touch with reality. Leave Your Body is a celebration of isolation, but also an acknowledgement that the longer confinement continues; the harder it is to rejoin society.

Adieu, Corpus ! (8’07 – 2018) Oleksandr Isaienko (Ukraine)
The film shows the body as a place, not as a subject. It travels along its borders, groping through time in dabs, rather than linearly, balancing on the edge of the frame, until once… it crosses its own boundaries and exits the field. The body dies physically by converting into a virtual body.

It’s not just a disco under the coconut trees. It’s an initiation (4’27 – 2021) / Anastasia Diga (Greece)
Three Bacchic characters dance frantically in an undefined place. A bourgeois apartment or the waiting room of a doctor’s office. They dance with ecstasy, disembodied in the solemn rage of the moment. Their dance is the reflection of human nature, the mirror of its bipolar manifestation.

Clinamen (7’05 – 2021) / Simon Gerbaud (Mexico)
Misunderstanding of the / movement, furious / joy / The crafty medulla / flew without head. Stammering of the / disappearance, comfort / of the touch / Everything is good / Good.

Le gigot (4′ – 2021) / Hélène Matte & Marco Dubé (Canada)
The result of a collaboration between the indisciplinary poets and artists Hélène Matte and Marion Collé, the video Le Gigot brings poetry to life by exploring its relationship to the body and to sacrifice.

Mere Dil Mere Musaafir (3′ – 2021) / Julia Zanin de Paula (USA)
A visual expression of the unknown through the eyes of different cultures and languages. In the middle of quarantine in New York City in the empty diaspora city, the unknown and uncertainty into filmmaking is part of the three people crews’ coping and healing process.

Falling (5’19 – 2020) / Mary Trunk (USA)
Falling is about everything we fall into. Falling in love, falling forward, backward and sideways, falling for something, falling and catching yourself, falling asleep and getting up. It never stops.

Utvikling av et språk (9’55 – 2021) / Laurens Pérol (Germany)
A filmographic study following a musician in his daily practice. Searching for the right tone, finding it, trying to hold on to it, then doing it all over and over and over again.

7.45pm Tasty interlude

9pm Performance Influences (25′) by Sarah Violaine (France)

10pm Screening programme from si:n video art and performance biennale
7 films by young artists from Palestine

I remember luciding (17’) / Motasem Siam 
In this video, I depict a recurring dream I had during the pandemic where I see the location of my own death – located on the Dead Sea in Jordan by the highway street. I tried to represent its visceral real feeling and vivid imagery by using Google maps as ready-made art. Carlo Antonio Villanueva is seen dancing lyrically. He responds to the rhythm of the two languages, creating connections between body, sound, and motion based on intonation over meaning. 

The Right To See (6’14) / Mahmoud Tawfiq Al-Haj
In his story, Mahmoud Alhaj recounts the isolation caused by the Israeli occupation policies, represented by the apartheid wall and Gaza Strip siege, representing direct violence towards the Palestinians, geography, and their rights as human being. He uses a set of documents from different sources about the walls and siege (images, maps and videos which are similar in quality to the quality of his human rights). He also uses slides of artwork which he created by using Google Maps. For Mahmoud, the right to see through Google Maps is the minimum of the rights he can have. But after years using it as the only window to see the world he then discovered than these maps were from 2008, not providing therefore a true picture of reality (details 25 times less than the rest of the world), and in addition hiding a lot of details including the apartheid wall despite its enormous mass because of the strict censorship.

I, The News (43”) / Nizar Marzouqa
It is becoming more and more common to encounter news narrating of our lives, both as Palestinians, and as citizens of the world. In the video, a background of snippets of my daily life, that I posted on social media. It is overlaid by a small screen of news articles being read “through glasses”. As the small screen gets bigger, and my voice reading news articles gets more entangled, overshadowing real-life clips, “I, The news” poses a question: Does the way we interact with, or refrain from, the news constitute a Case of Rebellion?

Broadcast (3’50) / Moayyad Abu Amonah
This artwork centers around the ways and the dimensions of media’s impact on societies, and the way it controls people’s paths and their dissociation from reality, by using tools that air martials to brainwash said society and its structure, alongside the illusions and myths that it builds in our contemporary life, which leads to the bearing and forming of fragile point of views and discourses for issues that hold different concepts that is frequent in circles. The present becomes more confusing and draining, which makes revolution over oneself and freedom from media stereotyping is a necessity.

From Where to Wear (8’2) / Nada El-Omari
In the pieces I store and carry along my many different roads, my dialects may be the signs of bruises but reclaimed, they form the skin and voice I live in. Experiences of the where. And as the words finally trickle through the needles, fingers seeping with tints/colours ? trace the outline of whirling fields where I hang a jasmine branch on suspended necks and in the in-betweens, language soothes, swans mend, and the daily brings calm. We are the comfort of our multiples.
Identity is endlessly argued: from the objects that surround us, the imagery, and the way we speak all used to identify. Say the words in your own mother tongue, embody the objects that surround us. Between stories, memories, textures, tastes, smells and words, I am still here.

Transformations (7’49) /Jumana Dabis
The mind guides us, confines us, and sets us free. It reflects our emotions, personalities, and traits. The mind tires us yet keeps us alive. With every waking moment, we learn, grow, and transform. With every heartbeat, we feel, we cry, we laugh, we love. The mind processes our lifelong journey. The mind dictates when we are at peace. Let the mind remember that death is also part of life. Let the mind remember that nothing is permanent.
This film comes as part of a contemporary dance performance, which premiered in December 2021. The performance seeks to highlight the ongoing inner conflicts of individuals, especially when faced with life-threatening ordeals such as cancer. The film is the final scene of the performance, where the self (ego) is revealed, alongside the id and superego (the three characters of Freud’s personality theory).

Promise (1’20) / Lilly Ann Benson
This video art is dedicated to my homeland, my people, my politically hijacked Palestine. The struggle to express this controversial love freely, without feeling threatened or attacked, causes me to compose a love letter. Hidden symbols intext and frame go hand in hand. Since the world condemns my love- I try to show how simple it really is.

A Dream within a Dream (2’20) / Jamil Gaspar
When the night falls and she put herself to sleep, she makes sure she had followed her set of rules. She is becoming obsessed and on the verge of losing it since the world is collapsing around her. However, a creature from her depth reappears every night to remind her of the nonchalance she felt one day and tries to wake her from her slumber.

FIN

It’s a beautiful day
I’m going to bed
Such a beautiful day
Which is finishing
Makes you want to love
I’m going to bed
To bite eternity
With my mouth wide open

It’s a beautiful day
I’m going to bed
Such a beautiful day
Sovereign
Makes you want peace,
To see angels at my feet
But I’m going to be
To make myself beautiful (MF)