Playlist
A farmer discovers a fallen meteorite in the high Chihuahua Desert. The Alien Earth and the Earth Alien commingle under the spell of a deadly nightshade.
In the threshold between sleep and wake, hallucinations and moments of paralysis take hold. Hypnagogia is an exercise in eco-processing, with different 16 mm B&W film stocks processed with multiple different organic material, including apples, avocado peel, coffee, grapes, peaches, pomegranate and wine.
Tonalli is cinema as ritual, with pulsating images, the rhythm of the music and the ecstasy of light flashing in a darkened room. The film has three movements: Xochiyáoyotl (the 'Flower war'), Tlecacitl (a solar-lunar ceremony where Xolotl, the god of lightning and death, emerges) and Tonalli (the sun's radiating warmth). In collaboration with student musicians from Codarts who will perform a live accompaniment, this Mesoamerican incantation will stir our Rotterdam audiences.
Filmed on a VHS camera in Erica's apartment, Smoke is a visceral exploration of heartbreak and healing, following the emotional journey of the artist grappling with the sudden end of a relationship. It visualizes the pain through a ritual of destruction: tearing a book—symbolising the love story—and setting it ablaze, page by page, and submerging it in dark water that mirrors Erica's mascara‑streaked tears. With an original score by Toby Goodshank, Smoke is a meditation on grief, self‑discovery, and the therapeutic release that comes from going deeper into the pain experience until it becomes ritual.
Examines science, politics, spirituality, and superstition in India through conversations about grief, loss, and absurd events in the aftermath of a global pandemic.
A salute, a slap, a clenched fist and a tender caress, le mirage des mains ultra réalistes explores the masculine through the gestures and expressions of men's hands. Like the intricately layered images created with analogue film and video material, the overt and covert symbolism of masculine hands is parsed through and assembled back together to reveal the hidden intricacies of male bonds.
This video installation explores Changgyeonggung, a strange place where a zoo, amusement park, and palaces coexist. After uncovering its tragic history, the place – once associated with childhood memories – is stripped of its emotional appeal.
A haunting exploration of familial bonds, intergenerational memory, and the enduring impact of shared narratives. Filmmaker Kamila Kuc steps into the emotional stream of inherited family history as the lines between documentary, testimony, and fiction blur. She performs acts of bearing witness not just for herself but also on behalf of her grandmother. Together, they testify to their experiences and the reverberations these stories have over time. I Was There is a palimpsest - a layered tapestry where past and present intertwine in the intimate process of activating memory and vulnerability as forms of resistance. It honors the testimonial object inherited from ancestors and the living connection that binds generations in the shared pursuit of justice and healing.
Tadu Baki follows himself through the jungle. He finds himself in a glass of water.
Streaks of iridescence and dull clatter disintegrate the brutalist architecture of Albany's Empire State Plaza in Laura Kraning's ESP as modernist structures glitch, smear, and flicker through the intervention of a faulty inkjet printer, rendering the capital city into a pulsing monochrome tesseract, a sinister grid of light and noise.
How to make a film about an event for which there are no moving images? In my search to make a project about Ecuador's largest worker's strike, which ended in the massacre of hundreds or thousands of workers in 1922 (and of which there are no moving images), I turn to other work from that same year. Inspired by Hito Steyerl's essay "In Defense of the Poor Image", this found-footage essay-film reclaims the "poor image" in the context of past and present class struggles in Ecuador.
In A Metamorphosis, Lin Htet Aung transforms the uncanny and absurd experiences of what it is like to grow up with state television propaganda into a kind of counter-broadcast, redefining the compositions and narratives that defined them. This distorted, eerie broadcast explores the daily experiences of living in a dictatorship and the imagery you get accustomed to as a child, accompanied by a lullaby that will haunt you afterwards: Yee, lé-lé! Yee, lé-lé-
Created with handmade and manufactured emulsions, Tuktuit explores the close and enduring connections between Inuit, caribou, lichen, and land use. Lichen developers help process the images of a caribou hide being fleshed down to rawhide to make gelatin for handmade emulsion that is subsequently used to shoot the film.
Suleiman and Mona are a couple who lead a solitary life in which they care for animals and trees and have constant heated discussions about their children's life choices. However, one day, their routine is disturbed when a stranger shows around, calling to mind a painful past.
An excavational inquiry through photographs, touch, and looking at times and places far from here and now, animating and conjuring a link between past and present.
Wandering through disillusioned Portuguese landscapes, a man reflects on the ruins of his love. Multiple voices, reading fragments of his diary, share his restlessness and vulnerability.
As a pre-Hispanic legend foretold, everything was flooded: the sun set into the sea, and humanity disappeared. Only a few survived. "Water Sun," filmed in Super-8, explores the mutation of the landscape and the materiality of the environment in a world transformed by water.
A photographer is called by a union leader to record a demonstration that ends in a state-sponsored massacre. The photographed material and the photographer must be taken to safety.
Steeped in the isolation of suburban Tasmania, Imogen and Audrey reflect on their lives, families and dreams between puffs on bongs, vapes and cigs. Dark clouds approach in the conversation and landscape as local wildlife looks on indifferently. Beyond the drugs and arcades, what possible routes of escape remain?
– Leonie Woodfin
Non/living is an exploration that delves into the collaboration between living organisms; Saccharomyces cerevisiae (baker's yeasts) and non-living; a ghost archaeologist. The film tries to find an approach between human and nonhuman beings while investigating ecological filmmaking and materialist films. The filmmaker held several experiments to find the best recipe to produce a movie with microorganisms, focusing on the intersection of art and science, including process-based experimentation and surface-based or cameraless filmmaking. During the screening, the silent film is open to human and nonhuman sound interventions.
An Islands' diary, told through the sombre but loving portrait of its oldest inhabitants. The Galapagos Islands and their majestic tortoises suffer the same fate of exploitation and disfigurement as the influence of humans on this once pristine and untouched corner of the world develops and devours. This film is the first 'chapter' of an ongoing adaptation of Herman Melville's 1849 novel about the islands, The Encantadas.
The Geneva mechanism is the essence of all cinema: a gear that translates a continuous rotation movement into intermittent rotary motion. Here, historical footage of this gear, along with the act and art of film projection, is digitally dissolved, sometimes into a shapeless mess. A very nostalgia-free film about the end of an era.
This project is narrated through the director's personal experience of living in the remote Himalayan mountain town of Manali (a popular destination for shooting Bollywood film songs reeking of adventurous love and high romance). The work nterrogates thin layers of narrative practices that construct tableaus of high mountains as static objects and backdrops for second hand urban aspirations of happiness. The precarious reality of living in a highly sensitive ecosystem spins an adventure far removed from most imaginaries.
Having lost her memory, A. could barely recall glimpses of her childhood in Argentina. After her death, her son visits the empty house for the last time. A sensory walk through permanence, passing, and the scattered pieces that make the self.
Hong Kong marked 20 years since its hand over; half way through the planned 40 year 'one country, two systems' transition. Taiwan, once imperial China, once Formosa, now ROC on the edge of the PRC. Multiple exposures of street scenes distort space and place creating a fluid sense of impermanence and transition, of two states somewhere between China and not China.
Set to a rhythm that is at once convulsive and meditative, Richard Tuohy and Dianna Barrie's Intersection collides crosswalks and traffic flows in an Eisensteinian onslaught of jagged, rapid-fire edits. The result is a riotous city symphony that captures the fractured sensations of contemporary urban space and sets it against a dense chorus of breaths, ums, and interjections.
The literal frame of a window overlooking a small garden becomes the scene through which Richard Tuohy's film exploits the myriad plastic potentialities of the cinematic frame. Immersive and stroboscopic, In and Out a Window offers its own variations on cinema's mechanical segmentations of space and time, opening up a portal to undiscovered dimensions and new phenomenologies.
A performer descends the stairs. Direct film mattes frame glimpses of the motion. Phase-looping duplicates the glimpses into a cascade of humanity. A game played with colour separations, motion following hand scratched and painted mattes and a perpetual descending figure. —Dianna Barrie and Richard Tuohy
Granite tors scattered over 20 square kilometers around Tooborac in central Victoria dance in energetic celebration of their own endurance.
A silent evocation of perception and memory; an attempt to touch the flotsam of elliptical impressions, earthly phenomena and dreamed images that linger and interpenetrate on the surface of thought.
Quadratura is the first video - signed by Sara Bonaventura - taken from the album Quasai, by the sonic artist, performer and independent researcher Francesco Fonassi (Spettro, Villa Recordings, Canti Magnetici), composed at the EMS in Stockholm on Buchla 200 synthesizers, produced and mixed by Fonassi at IAC, Malmö and Spectro, Brescia.
Inspired by dark ecology and the Mandel'štam's poem of the voice over, the 16mm film evokes the loop of systemic predator-prey models, starting from microscopic beings - didinium and paramecium - passing through plankton, jellyfish, insects, fish, crustaceans and human apex predators. The found footage comes from a collection of educational films by the American Coronet, Ecological biology, an attempt to spread ecological thought at the end of the 70s. I intervened analogically on the edited material, scratching the Darwinian parable highlighting its shadows that obscure the stars, and so the delicate balance of complex ecosystems.
Colonial ghosts do not stop h(a)unting and devouring vegetalities. For centuries they have made the world work for the sake of a single world/ing, while others are ab/used and annihilated. The quinine pharmacy is an example of the strength of their machinery. Fever of conquest contrasted to a feverish state and a trance of perception; feverish images contrasting a world that burns, a quinine machine. Archival malaria, the quinine in constant variation, the plant in constant differentiation, the Bora and Uitoto conjuring, the cosmos reclaiming. Ma-quina.
'Don't Get Too Comfortable' is a heartfelt introspective letter to the director's deceased grandfather. The letter questions the continuous pattern of movement amongst Yemenis in diaspora via her ancestral journey. The film fuses archival photographs, sourced footage, parallax animation, abstract videos to create an audio visual body of work that calls attention to the collective feeling of statelessness and sense of being felt by Yemeni (or non-Yemeni) migrants
An incomplete and imperfect portrait of reflections from Standing Rock. Cleo Keahna recounts his experiences entering, being at, and leaving the camp and the difficulties and the reluctance in looking back with a clear and critical eye. Terry Running Wild describes what his camp is like, and what he hopes it will become.
Two Refusals is a feature-length experimental essay film that looks to sites of refusal, rejection, and revolt across India and Africa. Weaving together personal reflections on the artist's family history as freedom fighters against the occupying Portuguese forces in Goa with stories of liberation and resistance across the Goan diaspora, such as the story of Sita Valles—the fierce Angolan-born Goan revolutionary—the film focuses on the bonds of solidarity that developed across the two continents against the Portuguese Empire. A personal journey through ancestry, anti-colonialism, and harbingers of dissent across India and Africa, inspired from the myths of Portugal's "oldest work of epic poetry," The Lusiads, the work repositions key mythological figures to ask how one can refuse an empire.
In a world that promises a perfect life, Marie Anne tries to escape. At that point, all trace of her is lost forever.
A documentary centered on Dhanyakuria, a historic village in West Bengal known for its distinctive colonial-era mansions and architectural heritage. The available reliable sources confirm the film's documentary classification and its selection at experimental/documentary film festivals, but I could not locate an official synopsis detailed enough to responsibly describe the film's specific narrative or themes.
An exploration of my old photographs from the mid-20th century. The film deals with the juxtaposition of two very distinct realities, comparing them and sometimes merging them.
Eye Injury disassembles and manipulates the photochemical surface of a 16mm film entitled Safety Gear: Eye and Face Protection dedicated to preventing eye injuries in work situations. Warning about the physical risks that can occur at work under specific circumstances is the theme of an industrial film, an ephemeral film exempt from copyright that, at times, seems like a sample of glasses. The new montage transforms the original ten minutes into a shorter footage close to the aesthetics of flicker film. It emphasizes the harmful nature of a body film that, underlining the fragility of vision, can cause migraines.
Ganga Niwas is an experimental short film by Anhad Singh Sodhi that explores a poetic and atmospheric experience through moving images, sound, and visual expression. The film reflects on place, memory, and everyday surroundings, creating an immersive audiovisual portrait through an experimental cinematic approach.
A short film that illustrates a harrowing truth: the overwhelming numbers of missing women in Mexico. The film is composed of fifty images of disappeared women, all of them re-photographed from their "missing person" notice.
A Very Clear Sunrise is a short documentary by Asmita Pal that unfolds during the early hours of Mahalaya in Kolkata, just before the beginning of Durga Puja. The film documents the atmosphere of the city and the protests that took place following the RG Kar rape and murder case, using an archival approach to explore collective memory, loss, remembrance, and the relationship between personal experience and public history.
"Elemental Vision or a film for the rest of my life" is 'about' light and time - moments captured in their passing, light events shot in various rhythmic patterns. It is about light and not particularly about the objects lit. The congruence of film's basic properties with how we experience reality (in time/motion, through light) has been a guiding factor in my approach to filmmaking. Of course, there are people and other natural subjects filmed - incorporated -coming into view - a surprise. Intertitles mark sections, create pauses and breaks. They come from various sources suggestive of film terminology and of different visions of being, many ways of knowing the world - scientific, poetic/spiritual, and everyday-ish.
A 4-minute-48-second videographic essay examining the representation of women's rage in cinema and television around the world. Using more than 500 audiovisual clips, Barbara Zecchi arranges and repeats images through increasingly complex visual and sonic rhythms, tracing rage from isolated and internalized expressions toward collective protest, solidarity, and potential political mobilization. The work treats editing, repetition, sound, and screen space as part of its argument rather than simply illustrating a conventional narrative.
Time Away is an experimental film-poem/meditation about finding one's place in the world and the subjective experience of time. O'Brien combines found footage of an anonymous filmmaker's travels from the mid-20th century with a meditative road journey guided by three female voices. Roads, signposts, travel imagery, memory, grief, and the passage of time become a poetic journey toward transformation.
The re-imagination of the generational passage of traditional knowledge between a woman and her grandmother moon.
A filmmaker exploring abandoned structures in a remote village in Goa encounters a restless presence. Shaken, he begins a search for answers.
Valeria is a short experimental moving-image work by Colectivo Los Ingrávidos. The film belongs to the collective's early body of politically and aesthetically radical audiovisual work, which uses experimental image/sound practices, archival interventions, mythology, documentary-poetic forms, and non-commercial audiovisual grammar. The collective's practice is explicitly concerned with disrupting dominant ways of seeing and hearing and creating alternative political and perceptual possibilities.
The Song for Peace is a performance-video work in which Debashish Paul performs in nature with a meditation bowl, imagining a world without borders, religions, or possessions. The work seeks to express peaceful coexistence and a symbiotic relationship between humans and nature. Natural sounds—including flowing water, rustling leaves, and birdsong—are incorporated into the musical/performance experience to reinforce ideas of interconnectedness, harmony, understanding, respect, and environmental preservation.
Ancestral Echoes is a poetic experimental film rooted in the Khasi hills of Meghalaya. Through landscapes, caves, forests, abandoned mining sites, and an Indigenous Khasi voice, Fileona Dkhar reflects on ancestral memory, spirituality, colonial extraction, ecological destruction, and the loss of home. The film invokes the guiding spirits of the Khasi hills and connects their voices with the scars left by mining and other forms of human exploitation.
Threshold is a performance-video work in which Freya Björg Olafson physically and kinetically responds to the repetitive movements and sounds of László Moholy-Nagy's Light Prop for an Electric Stage. Recorded in a small storage room at the Bauhaus-Archiv in Berlin, Olafson allows the machine's movement and sound to influence her improvisation while simultaneously testing whether her body can initiate movement and control the machine. The work explores the reciprocal relationship between body, machine, movement, perception, and technology, extending Moholy-Nagy's ideas about expanded cinema and his concept of the "Poly-Cinema" into contemporary digital/video practice.
Revival is a short 16mm experimental film about isolation, risk and rescue.
DISILLUSIONED is an experimental video work examining self-perception, body image, vulnerability, and fear of rejection through analog video manipulation. McCreight records herself onto tape and then subjects the footage to analog signal bending/circuit bending, allowing the image to become unstable, distorted, and increasingly difficult to control. The physical distortion of the recorded body becomes a visual expression of her changing and often uncontrollable perception of herself.
Envío 30 is a short film from Jeannette Muñoz's ongoing Envíos series, a body of cinematic correspondence dedicated to friends, artists, family members, and other individuals. Envío 30 is dedicated to Claudio Maturana and was filmed in Santiago de Chile. The film is an observational, silent 16mm work and forms part of Muñoz's larger practice of using brief cinematic gestures as personal messages.
Envío 26 is for Fernando Orrega and Reinhardt Schulz and was filmed in El Volcan, Chile.
Filmed in London, sent to Paris. For Helga Fanderl. "Dear Helga, today I have recieved a postcard from Chile. Shaking folds and tearing invisible strata, I aim to wander through this city". J.M.
The German Fountain—located in the heart of Santiago, Chile—was a gift from the German colony to the new Chilean republic in 1912, in gratitude for the transfer of land in the Mapuche Walmapu territory. In the heat of January 2004, the fountain becomes a symbolic space. Although bathing is prohibited, families from the city's marginalized outskirts visit it and transform it into a public swimming pool, thus redefining its political and social character.
Puchuncaví originally derives from Mapudungún (the Mapuche natives' language) and reads as something like 'where fiestas abound' referring to the tradition of the native fiestas. This is in contrast to the more recent industrial development of the area that includes copper refineries, steam power plants and a lading port. The lading port and its immediate environment could be regarded as the intersection of the site Puchuncaví. The concept of this film is an ongoing project that grows every year with new blocks of fragments, all fragments are mostly consisting of one shot or edited in the camera and in the editing table and exploring the different stratas of this place.
In 1881 a group of Kawéskar natives from Tierra del Fuego were exhibited in human zoos across Europe, organized by the merchant of wild animals Carl Hagenbeck from Hamburg.
The Mermaids, Mirror Worlds is a two-channel video installation that juxtaposes the fictional world of The Mermaids, or Aiden in Wonderland—a future landscape devastated by industrial toxicity—with nonfictional promotional material from multinational chemical and industrial corporations including Monsanto and Dow Chemical.
The two screens create a confrontation between corporate claims about the safety and benefits of industrial capitalism and an Indigenous speculative vision of a world damaged by that same system. The work asks viewers to consider which competing vision of the future more accurately describes the consequences of environmental exploitation.
The work addresses colonialism, Indigenous sovereignty, extractive capitalism, environmental toxicity, corporate propaganda, climate crisis, and competing forms of knowledge.
A photographer, while walking towards the source of the waterless Kaveri river, encounters a woman whose image could not be recorded by his camera. Six years after dismissing that occurrence as a malady of the summer heat, he finds a note left behind by someone in a vast photo archive about the same woman. He begins another journey in search of that woman, following the scent of absence inside the photographs of the archive.
Rafique Raat Ki Baahon Mein — translated by ASAP | Art as "Rafique in the Embrace of the Night" — is a hybrid moving-image work conceived as part of Ketan Dua's larger multimedia project The Mapmaker from Baghdad.
The film approaches itself as an "open, liquid archive," deliberately blurring distinctions between fact and fiction and between dreams and reality. It is connected to Dua's relationship with Mumbai, while engaging with questions of memory, archival practices, collaboration, and the construction of historical narratives.
An experimental moving-image work by Koushik Mitra that explores an unresolved or open-ended encounter through the language of contemporary experimental cinema.
A contemplative collection of images of the Yukon Territory, an area of north-western Canada where parts of native wilderness are still preserved. Through historical artifacts and contemporary realities, the film constructs imprints of collective memory against the backdrop of pristine tundra.
Experimental short film made by applying Clorox to celluloid
Party Mix for One is a 3-minute experimental film by Canadian multidisciplinary artist Liz Garlicki. Presented as a comical exploration of feelings such as "I don't fit in" and "I'll be alone forever," the film centers on a hostess at a party who searches for one particular savoury piece. Through this seemingly trivial social situation, Garlicki humorously examines isolation, social conformity, belonging and the anxieties surrounding participation in social life.
On the occasion of Ambedkar Jayanthi, we're proud to release our short film Babasaheb in Bengaluru — a reflection on the living legacy of Dr. B.R. Ambedkar through the many statues that stand across the city of Bengaluru. These aren't government-funded monuments. They're people's statues — built by communities from the ground up. Each one is an act of love, memory, and resistance. 💬 Educate. Agitate. Organise. This is more than a slogan. It's the soul of this film.
Filmed on an abandoned fishermen village of Northern Qatar, 'And Then They Burn the Sea' is an ode to the filmmaker's living mother whose memories abruptly left her during the making of the film. Al-Remaihi ruminates on an experience of familial loss of that which cannot be defined but is deeply felt by pairing existing family archives with reenacted dreams. Weaving a myriad of poetry, folk history, and personal archives, the film mirrors a history of maternal mourning rituals that lament their loved ones who may never be returned by the sea. Created in DFI's Short Documentary Lab with Rithy Panh.
A poetic and experimental short documentary that transcends the fear of war and destruction. With a surrealistic picture of getting lost in a town known to Mina (The Director of the film ), looking for her home, family, and friends narrates her constant nightmare of an abandoned city. This short documentary film developed in a collective work "Iran: A Sense of Place" with Wim Wenders mentor ship.
An eye on the life of a small community in Bahrain, its customs, and its connection to one of the strangest cultural phenomena, which is donkey racing.
Leaky Rad and the Studio Visit is a one-minute experimental video work by Canadian visual artist Nicole Shimonek. Filmed in her studio during the first COVID-19 lockdown, the work explores duality, mark-making, built environments and body movement through design principles, snake imagery, negative space and the artist's physical presence. The confined studio becomes both a workspace and a psychological space, reflecting Shimonek's internal experience of isolation during the pandemic.
Anthropocenes, magic mountains, earthquakes… Cosmic events in the multiverse and a vision of the universe, of Gaia (Earth), of Méliès' Moon, of the solar system, stars, fireballs in stormy weather, exploding Betelgeuse and, finally, eruptions on a sacred mountain… "Planets and Exoplanets", "Nebulae", "Galaxies" and "Stars" are stenciled directly onto the film, which itself undergoes multiple chemical treatments. The filmmaker assumes the position of an active, contemplative thinker, offering us a reflection on space-time.
A short experimental documentary work by Paraguayan filmmaker Paz Encina that confronts the legacy of the Alfredo Stroessner dictatorship through memory, violence, disappearance, repression, and the relationship between what is familiar and what has become alien within Paraguayan society. The film references the 35-year dictatorship, the Agrarian Leagues, the Caaguazú case, police repression, betrayal, and the story of Apolonia, connecting individual memory with Paraguay's political history.
This experimental video essay takes the history of a printing press associated with Harinath Majumder, one of nineteenth-century Bengal's pioneering rural journalists, as a way of examining colonial modernity, knowledge production, social hierarchy, and competing systems of truth. The film connects the printing press used for Grambarta Prakashika with Majumder's later transformation into the mystic/folk figure Kangal Fikir Chand, bringing together archival imagery, colonial-era objects, astronomy, folk practices, famine imagery, contemporary ferry crossings, religious iconography, and reflections on modernity.
Sandhya bhasha tries to engage with polyphony of ideas like hierarchical power, freedom of speech and body, thinking beyond human logic and has a form like a visual diary, merging paper collages, statues with junk objects, moving into a visceral sense of experience.
This Month's Birth captures filmmaker Reeba George's own experiences and reflections, using the personal significance of Chantal Akerman and the language of cinema to express what the Elevation Film Festival describes as the ineffable complexities of life and death. The film is presented within an introspective experimental programme concerned with the human condition and mortality. Verified from festival programme material.
In pursuit of an eclipse, the citizens of Winnipeg flee the city. Meanwhile, stranded in the Tudor Village apartment complex, the caretaker does his best to interrupt their trajectory and entice everyone to return. Tudor Village acts as a trope for both Winnipeg and the creative process behind the film - that being a constant act of revisiting a place to excavate that which is left behind in the shadows. The approach to making this film was to construct it as a collage, and assemble narrative from the images derived from the layers.
A camera-less portrait of the artist. Super 8 cartridges placed inside a black cotton bag; the film advanced via a hand crank. The tiny gaps in the fabric weave make for dozens (hundreds? thousands?) of tiny pinholes.
A staccato study of street level action and inter-action. People and vehicles on everyday journeys are atomised into coursing fragments of light, shadow, angle and inertia, reiterating and disassembling the creation of motion out of still frames at the heart of cinema. Filmed in ten cities on four continents.
Modulating attention between channels, like shifting through the radio, one can reveal messages in noise. This was the basis for Hedy Lamarr's "frequency hopping" technique, which now structures mobile networks and its siren songs. At the beach, transmissions fail, we hop waves, wander to sintonize, and accumulate dead time, asperged. Salt water blocks high frequency signals, found shells resonate.
A poetic, abstract audiovisual work built around the recurring image of a "secret ladder" emerging from the firmament. Images of stone, water, fire, flesh, birds and night are assembled into a mysterious, dreamlike meditation on transformation, disappearance, reflection and the relationship between the human and the elemental. The film was created as an "exquisite corpse" collaboration between filmmaker Scott Barley and musician Hara Alonso. Verified.
This hybrid personal essay ventures into the depths of the country which the filmmaker's grandparents left 80 years ago in one of the colonialist-driven waves of migration. Searching for memories and associations, he wanders through the abandoned city, trying to connect with the imagery and thought of his ancestors and looking inside his own perception, reflecting on the traces of inspiration and the spirit of the places he explores.
A flock of memories activated by various musical exercises, to strike the past to the heart, to build something utopian: the future, a sonic architecture. Music as a tool, transcriptions of YouTube tutorials as poetry, percussion exercises as descriptions of reality.
Movements in Transition is a study on movement. It uses time and the celluloid medium itself as a device to create a liminal passage between two separate states of despair which are in transformation. This transformation occurs through, one - the repetition or the mirroring of the solitary figure and, two- through space interlinked via a temporal architectural corridor.
Time becomes both a subject and a container, stretching and compressing as bodies shift through gestures of rupture and release. Without words, the film traces a passage—fragile, uncertain—where motion becomes memory and transformation is felt rather than seen.
The film features Sayli Kulkarni, a contemporary dance and movement artist based in Pune, India.
In a mini, hidden, weird supermarket where only bottles of milk are displayed, a young man, Jehad, sitting in a shopping cart, rebels against his mother after she rejects a bottle of milk of his own choice. In the end, will he go for his choice that clashes with societal expectations or submit to his mother's will?
From archival photographs that testify to years of political violence in Peru, the film builds an analytical narrative that combines the artist's memory and that of José Pablo Baraybar, head of the Peruvian team of forensic medicine.
Collaging appropriated footage with original imagery, Water once ruled collapses the past, present and future into a single repeating loop. Linking the introduction of satellite imagery with the colonization of our own as well as other planets, the video considers water – and the lack there of – as the distressed resource connecting Mars' history with Earth's present and future.
There is nothing here to breathe.
(Single channel video on monitor with heat blankets)
Initially made for contact landing(s) an exhibition curated by Ellyn Walker – Thames Art Gallery 2018.