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The video is an AI-assisted meditation on self-help through extreme sonic manipulation, in a semi-erotic plastic dreamscape of watered-down and for-profit thanatotherapy, where new age imagery devolves into Cronenbergesque mutations, in complete contrast with the chaotic and unpredictable sonic experiments which may or may not be useful in your personal quest to better your True Self™.

Centuries after World War II, Julia stands on a field in Normandy wearing her German Wehrmacht uniform. She represents an ideology she does not believe in, from a world she was never part of. Julia, of Russian origin, embodies a German anti-aircraft assistant. A film raising the question of whether you become the role you play.

An old orchard through the seasons, organ music, a 17th-century classification of plants, porcelains with floral motifs: Arbor, Cremium, Frutex, Herba attempts to convey, through the use of different representations, a way of inheriting a landscape.

In a diligent attempt, Thomas seeks to find a final resting place for their only child. But he is surprised that today is not the right day to do so.

Computer Lady is a song the 100+ million Americans with a family member in prison can relate to, for the lady in question is the robot voice which interrupts prison calls to remind you the call is being recorded or that it will end in 60 seconds. Recorded over the phone, artist Spoon Jackson, who has been incarcerated for 47 years, gets to beef with Computer Lady directly on this jarring and somewhat funny spoken word piece set to heavy drums and a fascinating soundscape by Nicolas Snyder.

‘Issues / often have two sides / You can turn them to suit yourself / War is suddenly called peace / shells Leonids / My sofa has a problem with me //’ A rubber slipper, sickle and hammer, mosquito spray, a foot mat with the Little Mole on it, an egg cutter and several other things while away the time on planet Earth at five past 12. With excerpts from Koyaanisqatsi, Zabriskie Point, Terminator and other found footage.

That’s the toilet, right? And what should be done here? This toilet is already fully designed. What else am I supposed to do here? Be an fine design or what? So what comes out of this toilet? It's a toilet bowl. Three different odours come out of it or do they go in? Three components.

In a small Argentinian coastal town, encroaching sand dunes force locals to decide between abandoning their homes or resisting. Nadia, living at the dunes’ edge, faces this dilemma, torn between leaving her life behind or staying to fight the inevitable.

After Ms. Schröder yells at the pupil Benny during a school excursion, she doesn’t go to class any more. When a rumour about a runaway bear reaches her, she investigates the matter. Between a rendezvous with Martin and a white poodle, Ms. Schröder goes about the city. Before she knows it, she is playing a cat-and-mouse game with the stray bear.

In this video, we can see 3D scans of the musician and of her lounge room. It shows a broken, brittle, uncanny world in which the private sphere is digitally processed, multiplied and sampled. A world in which the musician encounters her doppelgangers in several variations of the same room, dances and sinks in mercury. 

In a symbolic DIY green screen room an overambitious, semi-professional director pushes a middle-aged post-punk band into the making of a dance video. Footloose, footwork, jumpstyle and mosh pits are his choreographic vision; with the help of artificial intelligence he hopes his big break has come at last. A most ideal maximum-average band clad in doubledoubledouble-denim comes into existence, white men dressed in rabbit costumes philander ignorantly in a forest on fire while multi-ethnic groups of firewomen try to get a job done. A fuzzy, rythmic-hypnotic edit marries the images to the music.   

EÖE’s singer Anna Kasten’s lyrics are about her reflecting on the art world, commenting on popular artists and her as an observer watching art. Stephan tried to reflect that in his video utilizing DIY video aesthetics and ’How to Paint’ WIP videos that can be found all over social media. A completely made-up artistic process is the result (Stephan uses physical simulations in a 3D world). Things are layered and put on top of each other again and again until total absurdity is reached.

At night in the forest, an idealist woman watches brief images from a video home recording. She moves inside the forest and begins to read text passages from Paraguay’s 900 generation literary movement. The next morning she ascends a hill while reading, accompanied by a donkey.

Sometimes it is a smell | A fibre a ray of light | A beech leaf that falls at your feet | A raindrop on your shoe | An eyelash on your cheek | Everyday snapshots | You recall details | Five ten twenty years later | The shooting stars of what is past | In the disused tunnel of the conscious |

microbes is based on the stories of some of the crew members that were told during the filmmaking process and reflects on their situation in an experimental way. They had to flee their homes due to poverty, war and prosecution. Now, after their long journey, they have to persevere and wait – wait while the world is turning madly.

Three rugby girls question their own prejudices and those of their social circles towards female and male attributes in our society. All through the film we follow their locker room talks, their sport practice as well as their compromises mixing both coquettish touches and mudded knees. Without
any use of speeches or theories, these teenaged girls definitely offer us another way of being girls.

In Japanese Buddhism, it’s believed that when someone dies they are ushered down one of six paths depending on the karma accumulated during their previous lives. Unfolding slowly, part nightmare, part contemporary ghost story, the video casts thick shadow on the realities of life as a beast, whether human or animal, begging the question of which of the six paths are we currently travelling down, as well which we might in the next life.

Lizzy is the result of the days spent in the aftermath of the death of a neighbour, who passed in the house where she had lived out her whole life on the Hillsborough River in Tampa, Florida and who left behind an electric organ addressed to the filmmaker. To receive it was like a wild riddle.

By deliberately manipulating 35 mm film, a unique collage is created of scratched, cut-up, burnt images that have been treated with corrosive substances, painted by hand and otherwise processed. In this magical chaos, an artificial intelligence partially explores and interprets the limits of the unpredictable, and the destructive beauty. A fascinating game combining analogue manipulation, planned coincidence and AI.

In Meadows Wait, Mist Diffuses, Dzhovani Gospodinov captures the enigmatic energies of Hosbësch. Shot over four years with motion sensor cameras and interlaced with Gospodinov’s own fragmented recollections of its topography, the film poeticises the protracted rupturing of a landscape and queries the ethics of our intrusion into the natural world. Moving between the voyeuristic and the introspective, the film is at once a portrait of and an elegy to Hosbësch.

Middlesbrough is our home. A Teesside town that emerged during the Industrial Revolution to become a global powerhouse in the iron and steel industries. But with rapid growth come consequences. Boom and bust. And more bust. And a single Cup win for the football team. And bust again. It’s still home though and yeah, it’s OK to look back on former glories, but it’s also important to look to the future.

An Albanian family struggles to stay afloat and integrate in Switzerland. To prevent the thread from breaking, the older daughter takes on all the responsibility.

A vision of a daily practice of the relationship between horse and human, experienced by the horse on a journey through her world, where she is transported, sedated, treated and guided, interspersed with an unexpected bliss of being there. The horse’s POV is the most effective element of the film. The human is introduced as a screen viewer who follows, measures and records her as an object.

On Hospitality is a necromantic documentary where the Iraqi artist Layla Al-Attar returns from the dead to tell the story of how a Swedish company built a luxurious hotel in Baghdad, ordered by Saddam Hussein for the 1983 summit of the Non-Aligned Movement. War changed all the plans. Layla made a mosaic at the entrance of the hotel, depicting George Bush’s face, and her house was hit by an American missile.

A curator, an archivist, an art dealer, a relative: in staged situations, four people discuss their relationship to an artist who, by means of a fictionalised biography, has pretended to be a Holocaust survivor.

In a quiet village, a puppeteer works in peace on a new project. His goal unexpectedly gains momentum, when the man decides to take in refugees from eastern Ukraine. Łukasz’s audacious project allows the family to take their minds off of the difficult reality. He gains companions, who want to help him in his unconventional work.

Whatever You Say embarks on a search for a queer language of intimacy, its disappearance, and resurgence on both textual and visual levels. In semi-frozen times, the protagonists navigate between the underground and the surface, with nature as their companion. Proximity provides warmth. Proximity does not burn. ’Whatever you say.’

While non-binary representations are rare, Lou talks about their relationship to gender, clothes, and other markers.

Sans histoire, an epic river of thoughts, confronts present-day fears of the end of civilization both ‘without history’ and ‘without story’. Unnerving footage of animals at night, visions of a technologized future, and images of people dancing to excess or fleeing from war combine to generate an apocalyptic atmosphere.

A music video influenced (like the music) by the works of feminist writer Angela Carter with the theme of hybridity – human snails and snail-like humans, human mushrooms and mushrooms with human skin, hermaphrodites and men without genitals… Chimeric protagonists performing useless, pointless, Sisyphean tasks. Overloading the AI to make it hallucinate, thereby transforming it into a dream machine…

A young man who has just finished handling his parents’ funeral attempts to purchase fireworks for the 2023 Spring Festival, where fireworks are prohibited.

Under the cover of night, skaters claim back the streets.

A trip on public transport in Vienna here becomes a special research expedition, as the filmmaker Michael Heindel approaches the trivial things of everyday life with conceptual enthusiasm. His protagonist and visual focus is an amorphous being; it emerges from the fragile black in a dirty white. There are traces left by bodies, smears found on panes of glass and other surfaces in the public space.

A fictitious video correspondence between two women – a filmmaker and an author – about connections between motherhood and artistic work. One is in a crisis; the other has a helpful idea.

Matchboxes are packaged in the most fantastical, symbolic imagery, becoming mini-portals to dream worlds. The film attempts to create loops of meta-narratives held together with the glue of recorded history, breaching them every now and then to withdraw back to the original isolation and unintentionality of the act of collection, and perhaps even the creation of the images.

In ancient times, Zhuanxu severed the pathway between heaven and earth, thereby altering the state of coexistence between humans and gods. This was later referred to as the Juedi Tiantong. After an unknown span of billions of years, with the awakening of human consciousness, this divide gradually began to mend, and the communication channel was rebuilt. The result will be a harmonious integration of life or possibly another catastrophic event akin to the Tower of Babel, which remains unknown.

Lina and Inès don’t know each other. From roof to roof, from low walls to fences, the two teenagers observe each other from a distance, like each other, try to get closer. But because they don’t want to be seen, they are constantly interrupted.

Measuring Sadness is an essay film. Memories, archive footage, dreams and painful reality collide and touch each other in their own visual language. It measures a state, a process, in which sadness and beauty, vastness and closeness, warmth and coldness are combined in opposing ways.

Wheels deals with critical masculinity and bad interaction patterns in relationships. These are often reproduced and consolidated by our actions. While we are able to change these patterns for the better, this process can take up a lot of time and effort. Because of that, the song tries to encourage us to reflect on our behaviour and interactions with other people.

20-20 is a compilation of 5 short, video-journal reflections on 2020. Each was created as Karen Trask’s contribution to an exquisite corpse video project called 2GatherApart. Organized by a group of Montreal artists, it was a way to stay connected and creative during the pandemic. 20-20 is a personal and humorous look at an unusual year.

At Aunty Gladys’s funeral, Archer Pechawis heard a tap on the window – it was a bear named Jesus... an allegory for religious interference, with an aching yet humorous look at estrangement and mourning for the loss of someone still living.

The Ladies eat, the gentlemen beat.

There is a good girl. And there is the Internet. This might seem weird but this might be real.

Using an experimental approach to green screen, Maxim Franks has created a kaleidoscopic film for the song Almost Puppet. Together, the video and song explore the themes of identity and self through the perspective of the cat puppet Puppet Ginger, with particular emphasis on the fragility of consciousness.

An old orchard through the seasons, organ music, a 17th-century classification of plants, porcelains with floral motifs: Arbor, Cremium, Frutex, Herba attempts to convey, through the use of different representations, a way of inheriting a landscape.

Park. Apartment. 6-core processor. My avatar learns a backflip.

“Blacktivist” reflects on police brutality, selective enforcement, and the right of self-defence. Scenes reminiscent of the aesthetics of conventional music videos come together with found footage, documentary shots and 3-D animations.

A woman hurls lightning bolts; ghosts gather about her and want to bring her under control. She fights her way through until the ghosts fall silent.

Tired of being despised by his colleagues – a bunch of lowbrow office machos – Mr. Lorenz opposes them and designs his own evening adventures. Free from all constraints and insults, he devotes himself to the charm of the night, of alcohol and karaoke bars.

When the mayor of a little village decides to take in forty refugees, a wave of dislike and hatred befalls him and his family. The short animation tells of a fight against fear and the courage to stand up for your convictions despite the threat of one’s life.

People tend to hurt each other, leaving long-lasting wounds, and this is no different amongst families.

It is not clear what is up and what is down. Gravity is suspended. Only the moment provides orientation – in brief, we are left clueless.

The small cruelties of a subliminal fog roll in. A pandemic thwarts intimacy. Perched from their little planets, this cast of wildly colourful creatures question their futures and navigate the longing for connection. This is the fifth collaboration between Jessie Mott and Steve Reinke.

‘Copyshop’ accompanies Berlin-Köpenick rapper Romano on a voyage of discovery to Hong Kong, where he reviews his past as a copy shop employee in Berlin. It’s all about megacities, stereotypes, creative spaces, rap music, Romano’s copy shop biography and the copy of the copy of the copy ...

The song by Tall Juan dedicated to all those people who live in the street. Made with acrylics, pastels and pencil on paper.

‘Issues / often have two sides / You can turn them to suit yourself / War is suddenly called peace / shells Leonids / My sofa has a problem with me //’ A rubber slipper, sickle and hammer, mosquito spray, a foot mat with the Little Mole on it, an egg cutter and several other things while away the time on planet Earth at five past 12. With excerpts from Koyaanisqatsi, Zabriskie Point, Terminator and other found footage.

An ageing rock star, his own zenith in the rear-view mirror, living isolated between Louis II and Louis XIV, less sun, more sunset. Rocko Schamoni as Rocko Schikano and the question of what might have been.

That’s the toilet, right? And what should be done here? This toilet is already fully designed. What else am I supposed to do here? Be an fine design or what? So what comes out of this toilet? It's a toilet bowl. Three different odours come out of it or do they go in? Three components.

The possibility of (re)constructing human history now no longer takes place in archives alone; it has instead moved into the realm of rubbish. But what if, under modern concepts of an efficient recycling system, there is no more waste? Then the past of our present will no longer be detectable in the future. In order to survive, rubbish must therefore seek alternative places of refuge...

Petra wants to relax, Martha is anxious and Maria simply doesn’t get up. The waves rush, and the lapdog gives in. It is hot and the wound is gaping.

In a silver catsuit and with a cigarette Sandra Hüller plays a superhero, whose glorious days seem to be long gone. The personal song deals with love, missed chances and finally letting go. These topics also appear in the video, with communication (or its absence) playing a central role, too.

Doors of Reception is a collage of door sounds from various science fiction films, creating an abstract sound painting of opening and closing colour fields. A recurring theme of the genre is passing through doors and being locked in or locked out on one side or the other, a condition that became the painful reality for many in times of the pandemic.

This is my second VR project, which combines imagery, dance and installation to create a kind of dialogue. It is an attempt at a directorial approach that falls somewhere between film and theatre. All of the scenes are taken from the paintings of Edward Hopper. This version is specifically designed for theatrical release.

In the nest of the sun, Xolotl, Huitzilin and Xochitl meet to recover the dance of radiation, whose colourful heat stirs the new fire of their cosmic dance.

Disguised as a straightforward promotional music video, an iconic 1970 performance by a messianic Elvis Presley is transformed by editing and music into a dark meditation on addiction and the hollowness of celebrity culture.

Grandma grows a pair of wings and transforms into a human bird. She steps out of the darkness of a tunnel into a desolate, misty landscape. She is above clouds, floating into where birds soar, above ground as bodies in levitation. The video tickles our senses and emotions towards losing our sense of gravity.

The electromagnetic landscapes of Sao Paulo and Rio de Janeiro go on an irregular basis and it is possible to see what’s outside the frame. This image hacking is connected to the poem “E se Jesus fosse preto” (And If Jesus Were Black) by the Brazilian poet Bruno Negrão, who proposes a new way to imagine some of our ingrained beliefs.

An Afghan hound, oscillating between ancient breed and modern day Instagram model, poses in all its mysterious glory.

The people in the video 'FragMANts' worship their consumer goods like religious cult objects. The religion venerated here is that of capitalism, which reveals itself to be superficial and meaningless. The believers of this religion are only uprooted fragments of themselves.

Frau Michels is on the way to her physiotherapist, who makes the heart of this married woman flutter. But there is no trace of him.

An image of the history of the universe, from the perspective of a solitary human being living in a single room apartment, passing a birthday while going through slide photos of movies.

Sometimes it is a smell | A fibre a ray of light | A beech leaf that falls at your feet | A raindrop on your shoe | An eyelash on your cheek | Everyday snapshots | You recall details | Five ten twenty years later | The shooting stars of what is past | In the disused tunnel of the conscious |

The lyrics illuminate the juxtaposition between Europe’s closed-door immigration policies and the free global movement of consumer items. Visually, we are invited into the world of the successful elite where every key position is occupied by – supposedly – immigrants.

‘The older I am, the smaller the pixels become. It attracts me, but why? I take off, I fly.’

Junkerhaus is shot in the residence of Karl Junker (1850 -1912) who dedicated his life to building his house in Lemgo, Germany. Reflections, projections and changes in light form abstract shapes which animate surfaces and structures, producing a psychological portrait that offers a new appreciation of Junker’s architecture as a mystical and visionary experience.

Upright video of a mobile phone that is filming a band and turning it into art.

Two lovers explore a patterned jungle world and meet some animal friends along the way.

Four friends sit in the Platz der Kulturen square in Cologne’s Finkenberg district, looking for the right words and punctuation for a text message that is never to be sent.

The camera moves in on a disturbingly normal home, closer and closer; the door opens as if by magic, and the camera flies through a maze of repetitive rooms. The start becomes the ending and the ending becomes the start.

I always make choices and take action. But sometimes, my heart and body are drawn to something before thinking in the head. Then I change my shape and reach an unknown place. I can’t control where I go.

Despite its fierce winds and dangerous waters, the Strait of Gibraltar has increasingly become the route of choice for migrants using Morocco as a gateway to Europe, making the mouth of the Mediterranean Basin into a tragic site of hope and death.

You against me. Us against the world.
We do not get along anymore, but we long for each other.

Since 2017 the two giant panda bears Meng Meng and Jiao Qing have been
hired out to the Berlin Zoo from China. Unfortunately for the Zoo, this
profit seeking attraction did not work  – in fact, it
worked backwards. Meng Meng, the female panda will only walk backwards.
Kerstin Honeit’s video aligns Meng Meng’s protest with other
performances of protesting bodies using movement in public space to
address grievances

The Story of a little Furry, who will make a great discovery by overcoming the fear of the unknown.

While non-binary representations are rare, Lou talks about their relationship to gender, clothes, and other markers.

A man walks through the forest and tries to find berries. Instead, he finds an empty French dressing bottle. A genie comes out of the bottle and grants the man three wishes. The man uses the wishes traditionally but constantly resorts to bad language which the genie does not approve of. So the man is going to learn a lesson.

Girardet's visual transfer of Second Chance Man, "a song about risk" (Stuart Staples), is part of The Waiting Room Film Project, a track by track interpretation of Tindersticks' latest album by various directors.

‘Sento’ is a Japanese public bath. This particular public bath features fascinating details such as a wall-size print of  Mount Fuji, pop yellow plastic washbowls, asymmetrical mirrors and other things fusing in a dance.

Behind the term ‘sensitive content’, behind this symbol of the crossed-out eyes, in this Deep Blur, two real eyes have been erased by the violence in the Middle East.

In 2021, hundreds of thousands of people took over the streets in Brazil, in the midst of a pandemic, to protest against the Bolsonaro government. Inspired by Joyce Wieland’s 1973 film of the same name, Solidarity portrays these protests by focusing on the expressiveness of human hands rather than Wieland’s feet. Gestures of affection, resistance, protection, joy or repression are revealed in these images made in Super 8 mm Ektachrome.

When I started living alone and decorating my room with flowers, I started to get excited. There are many beautiful flowers outside, but is this someone else’s property? Even if they look like weeds, they might be someone's pleasure to pass by here, so I end up buying flowers at the florist. I wonder if flowers are something you buy with money.

A chubby, red-headed, mini-anarchist is about to become your idol. A sweaty, round-faced, pre-teen boy is our protagonist. Walking amongst ruins in his trackies, he smokes, stuffs his face repeatedly and pulls out some pretty mad shapes.

Welcome to St. Mickeyland! In painting-like tableaus, a reservation inhabited by cartoon and media icons is displayed. The assembled characters are in search of meaning in life, reflecting on their creation in the honeypot of capital. While Snow White learns stand-up paddling, Winnie-the-Pooh gives birth to a descendant, adding a dash of humanity to the fictional shell.

A present-day adaptation of an old story from Utsjoki, Sápmi. It is a legend of the director’s relative, Ovllá-Ivvár Helander, about what he did during the Spanish flu epidemic in 1918 in Utsjoki. Ovllá-Ivvár decided to fool Death and take his fate into his own hands. The protagonist of the film is walking in Ovllá-Ivvár’s footsteps.

A trip on public transport in Vienna here becomes a special research expedition, as the filmmaker Michael Heindel approaches the trivial things of everyday life with conceptual enthusiasm. His protagonist and visual focus is an amorphous being; it emerges from the fragile black in a dirty white. There are traces left by bodies, smears found on panes of glass and other surfaces in the public space.

The transparent, holographic portions of Canadian dollar bills are contact-printed onto 16 mm film. A camera-less, dizzying closer look at the monarch, maple leaves and colonial structures that secure and validate our legal tender.

„You can always be in two places at once, did you know? The real world and the magical world." 

The voice on the phone whispers in your ear -there's a way to alter reality. A journey through Graveyards, unknown waters, poems, dreams and wishes, telling us that what we long for is waiting for us and that we can meet it in our very own underworld. A film in love, like a prayer, an attempt to reclaim of what seems lost, to open the gateway and enter the real world.

A woman wants to get up. But the chairs she is sitting on won’t let her go. The woman’s room becomes her universe and the way out of it is, of all things, the armchairs.

The video 'Three Casualties' is an investigation of three movie scenes, showing stunts that lead to the deaths of the stunt doubles performing them. In some cases these scenes were left in the films so that a large audience simultaneously witnessed an actual death as well as a fictional one on screen. 

Medieval time travellers on a short visit to the future, so-called present and not-so-grey prehistory encounter burgers, SUVs, esoterics and a mammoth before (spoiler alert) returning to the past.

Accompanied by a lilting soundtrack, characters wander through London's concrete jungle as an unknown female voice reflects on the current state of the city and imagined future.

Rufus Wainwright turns himself into a fictional character based on the editor-in-chief of Vogue, Anne Wintour. A commentary on life in a reality that can be artificially altered and on the price of fame.

In the middle of the night, a broken farted finds music in the arms of beautiful strangers.

An actors’ tutorial about crying fake tears on camera. Ten actresses don’t only explain, how to make oneself cry in ten easy steps, they also give their best to demonstrate it.

We haven't gone viral.

A reference system shows the question to all answers: the filter bubble, the fake news, the algorithm and Henry Maske.

The video is an AI-assisted meditation on self-help through extreme sonic manipulation, in a semi-erotic plastic dreamscape of watered-down and for-profit thanatotherapy, where new age imagery devolves into Cronenbergesque mutations, in complete contrast with the chaotic and unpredictable sonic experiments which may or may not be useful in your personal quest to better your True Self™.

Centuries after World War II, Julia stands on a field in Normandy wearing her German Wehrmacht uniform. She represents an ideology she does not believe in, from a world she was never part of. Julia, of Russian origin, embodies a German anti-aircraft assistant. A film raising the question of whether you become the role you play.

An old orchard through the seasons, organ music, a 17th-century classification of plants, porcelains with floral motifs: Arbor, Cremium, Frutex, Herba attempts to convey, through the use of different representations, a way of inheriting a landscape.

That’s the toilet, right? And what should be done here? This toilet is already fully designed. What else am I supposed to do here? Be an fine design or what? So what comes out of this toilet? It's a toilet bowl. Three different odours come out of it or do they go in? Three components.

In a small Argentinian coastal town, encroaching sand dunes force locals to decide between abandoning their homes or resisting. Nadia, living at the dunes’ edge, faces this dilemma, torn between leaving her life behind or staying to fight the inevitable.

After Ms. Schröder yells at the pupil Benny during a school excursion, she doesn’t go to class any more. When a rumour about a runaway bear reaches her, she investigates the matter. Between a rendezvous with Martin and a white poodle, Ms. Schröder goes about the city. Before she knows it, she is playing a cat-and-mouse game with the stray bear.

In this video, we can see 3D scans of the musician and of her lounge room. It shows a broken, brittle, uncanny world in which the private sphere is digitally processed, multiplied and sampled. A world in which the musician encounters her doppelgangers in several variations of the same room, dances and sinks in mercury. 

In a symbolic DIY green screen room an overambitious, semi-professional director pushes a middle-aged post-punk band into the making of a dance video. Footloose, footwork, jumpstyle and mosh pits are his choreographic vision; with the help of artificial intelligence he hopes his big break has come at last. A most ideal maximum-average band clad in doubledoubledouble-denim comes into existence, white men dressed in rabbit costumes philander ignorantly in a forest on fire while multi-ethnic groups of firewomen try to get a job done. A fuzzy, rythmic-hypnotic edit marries the images to the music.   

Sometimes it is a smell | A fibre a ray of light | A beech leaf that falls at your feet | A raindrop on your shoe | An eyelash on your cheek | Everyday snapshots | You recall details | Five ten twenty years later | The shooting stars of what is past | In the disused tunnel of the conscious |

microbes is based on the stories of some of the crew members that were told during the filmmaking process and reflects on their situation in an experimental way. They had to flee their homes due to poverty, war and prosecution. Now, after their long journey, they have to persevere and wait – wait while the world is turning madly.

In Japanese Buddhism, it’s believed that when someone dies they are ushered down one of six paths depending on the karma accumulated during their previous lives. Unfolding slowly, part nightmare, part contemporary ghost story, the video casts thick shadow on the realities of life as a beast, whether human or animal, begging the question of which of the six paths are we currently travelling down, as well which we might in the next life.

Lizzy is the result of the days spent in the aftermath of the death of a neighbour, who passed in the house where she had lived out her whole life on the Hillsborough River in Tampa, Florida and who left behind an electric organ addressed to the filmmaker. To receive it was like a wild riddle.

By deliberately manipulating 35 mm film, a unique collage is created of scratched, cut-up, burnt images that have been treated with corrosive substances, painted by hand and otherwise processed. In this magical chaos, an artificial intelligence partially explores and interprets the limits of the unpredictable, and the destructive beauty. A fascinating game combining analogue manipulation, planned coincidence and AI.

Middlesbrough is our home. A Teesside town that emerged during the Industrial Revolution to become a global powerhouse in the iron and steel industries. But with rapid growth come consequences. Boom and bust. And more bust. And a single Cup win for the football team. And bust again. It’s still home though and yeah, it’s OK to look back on former glories, but it’s also important to look to the future.

Whatever You Say embarks on a search for a queer language of intimacy, its disappearance, and resurgence on both textual and visual levels. In semi-frozen times, the protagonists navigate between the underground and the surface, with nature as their companion. Proximity provides warmth. Proximity does not burn. ’Whatever you say.’

A music video influenced (like the music) by the works of feminist writer Angela Carter with the theme of hybridity – human snails and snail-like humans, human mushrooms and mushrooms with human skin, hermaphrodites and men without genitals… Chimeric protagonists performing useless, pointless, Sisyphean tasks. Overloading the AI to make it hallucinate, thereby transforming it into a dream machine…

A trip on public transport in Vienna here becomes a special research expedition, as the filmmaker Michael Heindel approaches the trivial things of everyday life with conceptual enthusiasm. His protagonist and visual focus is an amorphous being; it emerges from the fragile black in a dirty white. There are traces left by bodies, smears found on panes of glass and other surfaces in the public space.

In ancient times, Zhuanxu severed the pathway between heaven and earth, thereby altering the state of coexistence between humans and gods. This was later referred to as the Juedi Tiantong. After an unknown span of billions of years, with the awakening of human consciousness, this divide gradually began to mend, and the communication channel was rebuilt. The result will be a harmonious integration of life or possibly another catastrophic event akin to the Tower of Babel, which remains unknown.

Measuring Sadness is an essay film. Memories, archive footage, dreams and painful reality collide and touch each other in their own visual language. It measures a state, a process, in which sadness and beauty, vastness and closeness, warmth and coldness are combined in opposing ways.

Wheels deals with critical masculinity and bad interaction patterns in relationships. These are often reproduced and consolidated by our actions. While we are able to change these patterns for the better, this process can take up a lot of time and effort. Because of that, the song tries to encourage us to reflect on our behaviour and interactions with other people.

An old orchard through the seasons, organ music, a 17th-century classification of plants, porcelains with floral motifs: Arbor, Cremium, Frutex, Herba attempts to convey, through the use of different representations, a way of inheriting a landscape.

In a quiet village, a puppeteer works in peace on a new project. His goal unexpectedly gains momentum, when the man decides to take in refugees from eastern Ukraine. Łukasz’s audacious project allows the family to take their minds off of the difficult reality. He gains companions, who want to help him in his unconventional work.

A vision of a daily practice of the relationship between horse and human, experienced by the horse on a journey through her world, where she is transported, sedated, treated and guided, interspersed with an unexpected bliss of being there. The horse’s POV is the most effective element of the film. The human is introduced as a screen viewer who follows, measures and records her as an object.

In a small Argentinian coastal town, encroaching sand dunes force locals to decide between abandoning their homes or resisting. Nadia, living at the dunes’ edge, faces this dilemma, torn between leaving her life behind or staying to fight the inevitable.

In Meadows Wait, Mist Diffuses, Dzhovani Gospodinov captures the enigmatic energies of Hosbësch. Shot over four years with motion sensor cameras and interlaced with Gospodinov’s own fragmented recollections of its topography, the film poeticises the protracted rupturing of a landscape and queries the ethics of our intrusion into the natural world. Moving between the voyeuristic and the introspective, the film is at once a portrait of and an elegy to Hosbësch.

microbes is based on the stories of some of the crew members that were told during the filmmaking process and reflects on their situation in an experimental way. They had to flee their homes due to poverty, war and prosecution. Now, after their long journey, they have to persevere and wait – wait while the world is turning madly.

After Ms. Schröder yells at the pupil Benny during a school excursion, she doesn’t go to class any more. When a rumour about a runaway bear reaches her, she investigates the matter. Between a rendezvous with Martin and a white poodle, Ms. Schröder goes about the city. Before she knows it, she is playing a cat-and-mouse game with the stray bear.

A fictitious video correspondence between two women – a filmmaker and an author – about connections between motherhood and artistic work. One is in a crisis; the other has a helpful idea.

That’s the toilet, right? And what should be done here? This toilet is already fully designed. What else am I supposed to do here? Be an fine design or what? So what comes out of this toilet? It's a toilet bowl. Three different odours come out of it or do they go in? Three components.

The video is an AI-assisted meditation on self-help through extreme sonic manipulation, in a semi-erotic plastic dreamscape of watered-down and for-profit thanatotherapy, where new age imagery devolves into Cronenbergesque mutations, in complete contrast with the chaotic and unpredictable sonic experiments which may or may not be useful in your personal quest to better your True Self™.

‘Issues / often have two sides / You can turn them to suit yourself / War is suddenly called peace / shells Leonids / My sofa has a problem with me //’ A rubber slipper, sickle and hammer, mosquito spray, a foot mat with the Little Mole on it, an egg cutter and several other things while away the time on planet Earth at five past 12. With excerpts from Koyaanisqatsi, Zabriskie Point, Terminator and other found footage.

In this video, we can see 3D scans of the musician and of her lounge room. It shows a broken, brittle, uncanny world in which the private sphere is digitally processed, multiplied and sampled. A world in which the musician encounters her doppelgangers in several variations of the same room, dances and sinks in mercury. 

In a symbolic DIY green screen room an overambitious, semi-professional director pushes a middle-aged post-punk band into the making of a dance video. Footloose, footwork, jumpstyle and mosh pits are his choreographic vision; with the help of artificial intelligence he hopes his big break has come at last. A most ideal maximum-average band clad in doubledoubledouble-denim comes into existence, white men dressed in rabbit costumes philander ignorantly in a forest on fire while multi-ethnic groups of firewomen try to get a job done. A fuzzy, rythmic-hypnotic edit marries the images to the music.   

EÖE’s singer Anna Kasten’s lyrics are about her reflecting on the art world, commenting on popular artists and her as an observer watching art. Stephan tried to reflect that in his video utilizing DIY video aesthetics and ’How to Paint’ WIP videos that can be found all over social media. A completely made-up artistic process is the result (Stephan uses physical simulations in a 3D world). Things are layered and put on top of each other again and again until total absurdity is reached.

Sometimes it is a smell | A fibre a ray of light | A beech leaf that falls at your feet | A raindrop on your shoe | An eyelash on your cheek | Everyday snapshots | You recall details | Five ten twenty years later | The shooting stars of what is past | In the disused tunnel of the conscious |

By deliberately manipulating 35 mm film, a unique collage is created of scratched, cut-up, burnt images that have been treated with corrosive substances, painted by hand and otherwise processed. In this magical chaos, an artificial intelligence partially explores and interprets the limits of the unpredictable, and the destructive beauty. A fascinating game combining analogue manipulation, planned coincidence and AI.

Whatever You Say embarks on a search for a queer language of intimacy, its disappearance, and resurgence on both textual and visual levels. In semi-frozen times, the protagonists navigate between the underground and the surface, with nature as their companion. Proximity provides warmth. Proximity does not burn. ’Whatever you say.’

A music video influenced (like the music) by the works of feminist writer Angela Carter with the theme of hybridity – human snails and snail-like humans, human mushrooms and mushrooms with human skin, hermaphrodites and men without genitals… Chimeric protagonists performing useless, pointless, Sisyphean tasks. Overloading the AI to make it hallucinate, thereby transforming it into a dream machine…

Wheels deals with critical masculinity and bad interaction patterns in relationships. These are often reproduced and consolidated by our actions. While we are able to change these patterns for the better, this process can take up a lot of time and effort. Because of that, the song tries to encourage us to reflect on our behaviour and interactions with other people.

Middlesbrough is our home. A Teesside town that emerged during the Industrial Revolution to become a global powerhouse in the iron and steel industries. But with rapid growth come consequences. Boom and bust. And more bust. And a single Cup win for the football team. And bust again. It’s still home though and yeah, it’s OK to look back on former glories, but it’s also important to look to the future.

Computer Lady is a song the 100+ million Americans with a family member in prison can relate to, for the lady in question is the robot voice which interrupts prison calls to remind you the call is being recorded or that it will end in 60 seconds. Recorded over the phone, artist Spoon Jackson, who has been incarcerated for 47 years, gets to beef with Computer Lady directly on this jarring and somewhat funny spoken word piece set to heavy drums and a fascinating soundscape by Nicolas Snyder.

In Japanese Buddhism, it’s believed that when someone dies they are ushered down one of six paths depending on the karma accumulated during their previous lives. Unfolding slowly, part nightmare, part contemporary ghost story, the video casts thick shadow on the realities of life as a beast, whether human or animal, begging the question of which of the six paths are we currently travelling down, as well which we might in the next life.

At night in the forest, an idealist woman watches brief images from a video home recording. She moves inside the forest and begins to read text passages from Paraguay’s 900 generation literary movement. The next morning she ascends a hill while reading, accompanied by a donkey.

Lizzy is the result of the days spent in the aftermath of the death of a neighbour, who passed in the house where she had lived out her whole life on the Hillsborough River in Tampa, Florida and who left behind an electric organ addressed to the filmmaker. To receive it was like a wild riddle.

A trip on public transport in Vienna here becomes a special research expedition, as the filmmaker Michael Heindel approaches the trivial things of everyday life with conceptual enthusiasm. His protagonist and visual focus is an amorphous being; it emerges from the fragile black in a dirty white. There are traces left by bodies, smears found on panes of glass and other surfaces in the public space.

In ancient times, Zhuanxu severed the pathway between heaven and earth, thereby altering the state of coexistence between humans and gods. This was later referred to as the Juedi Tiantong. After an unknown span of billions of years, with the awakening of human consciousness, this divide gradually began to mend, and the communication channel was rebuilt. The result will be a harmonious integration of life or possibly another catastrophic event akin to the Tower of Babel, which remains unknown.

A curator, an archivist, an art dealer, a relative: in staged situations, four people discuss their relationship to an artist who, by means of a fictionalised biography, has pretended to be a Holocaust survivor.

A young man who has just finished handling his parents’ funeral attempts to purchase fireworks for the 2023 Spring Festival, where fireworks are prohibited.

Matchboxes are packaged in the most fantastical, symbolic imagery, becoming mini-portals to dream worlds. The film attempts to create loops of meta-narratives held together with the glue of recorded history, breaching them every now and then to withdraw back to the original isolation and unintentionality of the act of collection, and perhaps even the creation of the images.

On Hospitality is a necromantic documentary where the Iraqi artist Layla Al-Attar returns from the dead to tell the story of how a Swedish company built a luxurious hotel in Baghdad, ordered by Saddam Hussein for the 1983 summit of the Non-Aligned Movement. War changed all the plans. Layla made a mosaic at the entrance of the hotel, depicting George Bush’s face, and her house was hit by an American missile.

In a diligent attempt, Thomas seeks to find a final resting place for their only child. But he is surprised that today is not the right day to do so.

Measuring Sadness is an essay film. Memories, archive footage, dreams and painful reality collide and touch each other in their own visual language. It measures a state, a process, in which sadness and beauty, vastness and closeness, warmth and coldness are combined in opposing ways.

Afibola is an Afrofeminist and queer Cuban activist, trying to teach their son Olorun how to grow up to be a free Afrocuban man despite the obstacles around them. In the intimacy of their community home spaces, they reflect on the difficulty of educating a black child in a racist and discriminatory society.

In 1982, the eruption of a volcano called Chichonal forced the Zoque community to relocate. Filmed over the course of six years, (((((/*\))))) captures the unique atmosphere of the Indigenous group’s Chiapas village. Gradually, political themes come to the surface. 

The magical, the dreamlike and the performative coexist in the particular world of "Las Traviesas" – a group of trans women from the Embera community, living and working in the Colombian coffee region. An aesthetic and conceptual universe with a particular stamp, in which documentary and fiction are indistinct palettes to draw the struggle to maintain indigenous identity.

Cornelia, Juri and Murat belong to the ‘working poor’. But at first glance, they seem connected by nothing more than their low wages. Everyone fights for themselves. Whether as clickworker, delivery driver or in the bankrupt cardboard factory, they all drift together through a jumbled stairway on their way out. But where to?

Cutting Edges delves into the architecture of co-working spaces and the discourses of start-up founders. Visions, processes, pieces of furniture and belief systems are shuffled together and spun around. The start-up dream is shaking. The unicorn waves and waves and waves.

Various electronic eyes of mobile phones tell the journey of a group of young migrants. Left without job opportunities in Germany’s first lockdown, they leave Berlin to work and live in a remote flower factory. Like a kaleidoscope, the film brings together a multitude of intimate images destined to be forgotten.

We witness a cell phone conversation between a post-studio artist and a job centre employee in which the artist struggles to explain and justify the expenses of her practice. The same script is performed in various contexts: in a hotel room, a fast fashion store, a rental car. The director’s voice occasionally intervenes, blurring the boundary between the cinematic scene and the real conditions of its production.

An Albanian family struggles to stay afloat and integrate in Switzerland. To prevent the thread from breaking, the older daughter takes on all the responsibility.

While non-binary representations are rare, Lou talks about their relationship to gender, clothes, and other markers.

Under the cover of night, skaters claim back the streets.

The song by Tall Juan dedicated to all those people who live in the street. Made with acrylics, pastels and pencil on paper.

Lina and Inès don’t know each other. From roof to roof, from low walls to fences, the two teenagers observe each other from a distance, like each other, try to get closer. But because they don’t want to be seen, they are constantly interrupted.

Park. Apartment. 6-core processor. My avatar learns a backflip.

Three rugby girls question their own prejudices and those of their social circles towards female and male attributes in our society. All through the film we follow their locker room talks, their sport practice as well as their compromises mixing both coquettish touches and mudded knees. Without
any use of speeches or theories, these teenaged girls definitely offer us another way of being girls.