In exploring humankind’s intimate relationship with artificial intelligence, Inès Sieulle exposes our prejudices and tendencies as a species more than anything else.
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.
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.
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.
Neozoon’s collage explores the worldview of fundamentalist evangelicals in the United States of America.
The ghosts of the past come face to face with the present and rural life is celebrated in Fermín Sales’ found footage documentary.
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.
A strident critique of Germany’s relationship with some of today’s social and political realities at home and abroad, awarded the Alice Guy Prize at FIDMarseille.
The 1983 French television interview with actor Maria Schneider has lost little of its relevance in the intervening 40 years. In these reenactments of the interview, everything appears to be the same—but is it?
The latest film by prolific German film author Jan Soldat begs the question of why cinema is so good at portraying spectacular deaths instead of authentic ones.
Leonardo Pirondi questions human perception and the possibilities of expanding our gaze beyond the realm of the physical, objective world.
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.
Caroline Poggi and Jonathan Vinel’s striking visual poem proves how our capitalist way of thinking is unfit for human life and its sustainability.
Gerard Ortín Castellví mixes his anthropological interests with his creative curiosities and turns his camera towards automated greenhouses in Agrilogistics.
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.
The aspirations of LGBTQIA+ youth is at the centre of Tracing Utopia as much as the generation gap between millennials and GenZ is.
Hotel Royal is a complete work of fiction that draws heavily from the conditions of its creation, namely the COVID-19 pandemic.
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.
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.
