Gestures of love reach further than any demonstration of hate in Mast-del, an experimental poem about forbidden desires, both inside and outside post-revolution Iranian cinema.
Awarded the Principi Award at Lago Film Fest, Simisolaoluwa Akande’s film is an ode to queer people from the Global South.
An exploration of the emotional divide between fiction and reality in the American sitcom, Philip Thomson’s Living Reality questions how we consume images at large.
In this haunting collage, Jay Rosenblatt reappropriates cautionary tales from educational films to illustrate the transgenerational cruelty that is boyhood. While facing uncomfortable truths, he also charts a path towards recovery.
A constant bombardment of stimuli, Stephen Lopez’s dystopian talking fish bromance is all the more interesting for its political undercurrents.
William E. Jones blends archival manipulation and incisive critique on sexual labour into a stimulating piece of video art.
With an unpretentious approach to existential questions, Finnish filmmaker Hanna Hovitie offers a perfect example of what humility can do in art.
More than a photograph of an event, Isabel Medeiros’ Enlighten works as an evocation. It embraces the overwhelming fact that transformation and degradation are inescapable natural processes.
Alice Brygo mixes documentary footage with computer-generated imagery to produce an intriguing, genre-defying admixture of realism and the surreal.
Neozoon’s collage explores the worldview of fundamentalist evangelicals in the United States of America.
Using archive materials, Chasing the Sun: El Shatt attempts to reconstruct a fragmented memory and touches on historical facts about El Shatt, the largest refugee camp in the Sinai desert in Egypt during WWII.
Though conceived long before artificial intelligence became the popular force it is today, Cristina Iliescu’s debut short offers a compelling reminder of our latent responsibility in the teething stages of machine learning.
Through an experimental film essay, filmmaker Coline Confort aims to capture the “rupture and repair” of a relationship.
Leonardo Pirondi questions human perception and the possibilities of expanding our gaze beyond the realm of the physical, objective world.
Mulika is a perfect example of Africanfuturism, reconnecting local African heritage to the optimism inherent to Black contemporary sci-fi tales.
The Sower of Stars strongly evocates meditative practices, as Lois Patiño yearns for moments of rest, inner peace and undisguised self-reflection.
A found footage reflection on digital surveillance technologies that asks its viewers to connect its images to what lies at the core of the society we inhabit.
Another look at Ruben Östlund’s Golden Bear-winning short film from 2010.
Caroline Poggi and Jonathan Vinel’s striking visual poem proves how our capitalist way of thinking is unfit for human life and its sustainability.
In her debut film, Maria Estela Paiso presents a walk down memory lane as a horror show. The end of the world is nigh and frogs are raining down from the sky.
Haig Aivazian's most daring leap into the world of film and a cogent attempt to tie together his interests through the form of found footage.
In her kaleidoscopic experimental film, Yuyan Wang both eulogises and critiques a society which is drowning in an overload of information.
The Killing of Čáhcerávga is not one, but five films. Each a manifesto, these films—like chapters in a book—form a cross-section of questions and statements on indigeneity, otherness, and longing.
Randa Maroufi offers a look through the cracks of a social issue that usually remains underexposed. Her radical formalistic choices might simplify the problem for the greater good, yet never lose sight of the individual tragedies.
Ismaël Joffroy Chandoutis’ Maalbeek—part collage film, part experimental video art—challenges the documentary genre.
In Operation Jane Walk, the Austrian filmmaking duo Leonhard Müllner and Robin Klengel present us with a piece of history in spatial planning, while cleverly marking the virtual as an extension of the historical.
Cross-referencing politics and body politics, reproduction and pandemics, Isadora Neves Marques creates a juxtaposition between a warning dystopia and a dangerous reality.
Jorge Jácome presents time in an associative series of hypnotic rêveries—an ode to the past so bittersweet that we have to be repelled from it at one point.
The female dance group JUCK performs in public spaces. By scratching between their legs, the dancers reveal patterns of male dominance. Unfortunately, this film depicts their feminist activism as solely female.
