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.
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.