The artworks presented, propose the expansion of film to another type of relationship between the public and the screen. The dialogue with the body, diary entries, essays, audiovisual poems, and the experimentation with the still image or the cinematographic chemistry from the laboratory, favor creative levels from perception and plastic significance. These films resist normality and the primal instinct to go further as a strategy to survive in the face of confinement or daily life, directing emotional reflection on the dynamics of connection with oneself and with others.

It is the opportunity to rediscover aspects of sensitivity, undertaking a journey to reach abstraction and imagination, to identify works made by hand, those of musical improvisation, those who focus movement as plastic expression and those who propose to cross the barrier of time from the research between the transit of life and death on a collection of memories. These films are then presented as discursive bets that include the variables of audiovisual practice under the creative freedom of experimental language.


PART 2 Hybrid Experiences


1h. 36min. 27s.


Centro de copiado



Stefanie Weberhofer

The cinema is a machine. Kopierwerk testifies to that, lets itself be carried by industrial rhythms, and in doing so, negotiates the analogue era, whose end meant also new beginnings, creative deviations: as complement to digital mass culture, taking place before our eyes is a movement largely freed from the pressure to generate a profit, a niche revolution of sorts in analogue media. First, the newspaper printing process is illuminated in old, silvery glimmering black-and-white images: the reproduction of propaganda and enlightenment from the ghost of factory work. A spectacular montage sets off the very “shock effect” that Walter Benjamin so enthusiastically described.
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Stefanie Weberhofer, protagonist in the young Viennese analogue film scene, lays out Kopierwerk as a self-reflective 35mm work compiled from found materials, trailers, advertising spots, and splinters of feature films. Already the printing prologue is fed from very different sources, the texture gives it away. From the factory, it moves to the wide-open space of Hollywood fantasies: Meryl Streep, Warren Beatty, and Jim Carrey handle newspapers and projection apparatuses; the meandering analogue photography is for the stars and the aura of the moment, indiscriminately capturing what is momentarily able to be captured. Film history, however, is not merely a glorious extravagance of prominence, but also one of material, a culture of secret pictures and messages found as printed inscriptions and instructions, as countdowns, codes, and numbers in the filmstrips themselves. The “highly dangerous” collective experience cinema can trigger panic, can do its work of destruction. But the film reels continue to turn. Kopierwerk thus mutates to an abstract game with the cinema’s physique, a dance of letters and the copier generation’s gray veil. In strictly manual production, for three years Weber worked on her film, which tells of the radical remodelling of the film industry and the (digitally multiplied) afterlife of analogue film images in the avant-garde.

2020, Austria | 7min. 0s.





Andrea Boll

Water – Leonardo da Vinci called it ‘the blood of the planet’. A group of people emerges from the water. They try to resist the current of the river and the stream of people in the city, but have to surrender to the flow and are washed ashore. On the shore, the stranded seek for hold and refuge. In the course of the film ‘against or with the flow’, ‘resistance and devotion’ manifest as a primal instinct, as a survival strategy.

2020, Switzerland | 10min. 0s.


Colorful Fears


Will Kim

“Colorful Fears” is about the filmmaker’s fears of his own creative tools, fake affection, betrayal, abstract imagination, and the cycle of the fears. Animated with watercolor on paper, the creative tools symbolized by a “hand” take on a journey of hurting and getting hurt.

2020, United States | 3min. 0s.


Du vivant


Annie St-Jean, Philippe Lauzier, Éric Normad

Pinhole music-photographic film. Stealthy illusions or ghostly fragments. A poetic investigation of the territory of a farm frozen in time

2021, Canada | 9min. 23s.


3x Former av Hjem

3xShapes of Home


Elisabeth Brun

3xShapes of Home (2020), is a 7-minute experimental video at the intersection between: an essay film, a structural experiment and a visual poem. In this video, the filmmaker revisits her place of origin, the small village of Strengelvåg in the Arctic north of Norway. Over the course of two years, she explores through her camera how the architectures and topographies of that place: the mountains, oceans and built environments, have shaped the filmmaker’s attachment to her childhood place, as well as her thinking. In search of a vision that goes beyond the subjective, the filmmaker presents her experience through three sets of cinematic techniques, such as camera position, superimposition, and algorithm, and tests her relationship to place against the agency of the camera, the agency of the algorithm, and the subjectivity of other creatures, such as a fish and a crab. We hear her voiceover shift from poetic to analytical, playful and sleepy, as she responds to the way her people are portrayed through the formal operations of the moving image.

2020, Norway | 7min. 0s.


In die Wildnis

Into the Wild 


Markus Maicher

Images harvested on a Mount Forest-Canada farm, captured with a handheld Bolex, no electricity, on film footage made for sound only. Processed in cubes, in bright red light next to the old barns. A glimpse through the cracks, someone walks across the meadow, the trees tremble in the wind, the flowers, the grass. A world that only film can see, a material flow arising from the coupling of camera, celluloid, silver salts, chemicals, particles of light and the filmmaker’s hand.
The film was processed entirely by hand and chemically treated, overexposed images brought back to life with bleach, other images solarized during development, reversed or dyed with curcumin and walnuts.

2020, Austria | 5min. 0s.


Take Pause


Ma YueRu

What are the things that you start to see and listen to? What are the things that are present and absent? Through vignettes of domestic experiences, TAKE PAUSE brings to the fore themes of comfort and discomfort, making the familiar unfamiliar to keep the viewer in a sensory imbalance, as we grapple with feelings of hyper-stimulation post-lockdown.

2020, Singapore | 7min. 44s.




Andy Sowerby 

‘Enough’ (2020) is an intimate portrait of personal thoughts and limiting beliefs. The film represents the inner workings of a mind by giving physicality to mental phenomena through colourful, dynamic 16mm direct animation and digital effects.

2020, United Kingdom | 2min. 26s.


Dream of Water and Song


Sam Luk

A woman’s soul traverses the sea of time.

2020, Canada | 8min. 45s.




Victor Orozco Ramirez

Several years ago I immigrated to Germany. Here, I live in a small old house. which urgently needs a modernization and that theoretically, protects me from wind, rain and cold.

2020, Germany | 12min. 12s.


From time without beginning


Lorenzo Gattorna

Death in Kashi is “liberation”‘. – “Death in Banaras”, Jonathan P. Parry, 1994

2021, United States | 6min. 40s.



Martin Gerigk


Martin Gerigk

“Haiku | 俳句”, is a symphonic audiovisual project by two Japanese men that alternate between percussion ensembles, soundscapes and rhythmic video sequences. The film pays homage to the extraordinary art of Japanese haiku poetry.

2020, Australia | 7min. 13s.

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