Samira Guadagnuolo , Tiziano Doria
Italy
2019 | 00:19:00

Imply observing ordinary places and people, a symbolic reading emerges of our fall from Paradise, reflecting upon the human condition, on its unbridgeable loneliness, and on its destiny of death.

Larissa Sansour
United Kingdom, Palestine, Denmark
2019 | 00:28:00

In an underground compound built in the aftermath of an eco-disaster, two scientists discuss the effects of memory, trauma, exile and nostalgia while preparing to replant the soil above.

Yen-Chao Lin
Canada
2019 | 00:11:00

Shot on location in the traditional Amis territory, The Spirit Keepers of Makuta’ay travels through villages on the east coast of Taiwan, where nature, colonization and population migration merge to create a unique spiritual landscape. The hand processed super 8 unravels mixed faith expressions from Daoist ritual possession to Presbyterian funeral, from personal prayers to collective resistance, all the while attempting to trace the memories of past Amis sorcerers.

Vivian Ostrovsky
USA
2019 | 00:03:54

A Russian can say, “I hear the smell…” A maestro has a vision of what a symphony should sound like. In a silent film how can one make the spectator see the sound? A vivid and noisy assemblage of archival and contemporary imagery meditating on the past and presence of film audio.

Yasha Vetkin
Russian Federation
2018 | 0:30:00

Original version of the film «Danaé» has been destroyed by a computer virus. Current edition of the film is an attempt to create reconstruction. Characters are forced to outlast a certain regeneration. And actors to revisit the concept of the film. «Danaé Reborn». Inhabitants of the film are tortured by some fragmentary memories of their existence in the previous generation of «Danaé». This project reveals for the spectator a concept of hybrid cinema, synthesizing contrary methods. Combining in a specific proportions fiction and reality, sequence and chaos, color images and those black and white. A project that holds semi position in-between genres, in order to offer for a viewer a role of an interactive participant. A story line told by a non-narrative film, only to emphasize that that story is of an archetypical nature. Instead of linear narration, «Danaé» is focused on a tension raising between characters, follows closely their mental conditions. Images are only to create visual intertextuality, and to place there both character and a spectator. So both can rediscover their flickering identity first on a basis on ancient myth of «Danaé» and later on the grounds of a classic drama by Chekhov. And so exile becomes immanent for both Danaé and Ranevskaya…