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Through a monologue recited in reverse, the video deals with discriminatory depictions of women in the past and present. In a river scene, resembling J. E. Millais’ famous painting of Shakespeare’s dying character Ophelia, the video’s artist appears, speaking constantly into the camera. On different levels, the video moves forward and backward in time. Intelligible words and the usual flow of time do not occur simultaneously, suggesting the entanglement of language, image and social roles.

One with one’s house experiences the threat of an invisible danger which stops the normal rhythm of time. The garden is our favorite place for isolation. Here we can engage in dialogue with nature and understand that, like snails, we are one with the house and the house is our body. Without our body we are headed for death, but plants and animals teach us that there is nothing to fear: death is a condition of life. Inhabiting our home-body is accepting its possibilities and its limits.

No more video calls. In these two months of quarantine, the screens become sound skins. Virtual communication platforms brings us a multitude of invitations to participate in live videos, lectures, courses and loves online. Life quickly became minimized to screens and through it, ghostly images come in and out of my house. However, one does not feel the connection. The more video calls, more distance, more emptiness and more loneliness behind the monitor. I do not want any more video calls, I want future meetings where bodies rub together without fear of contagion.

Edited during the BLM rebellions in June 2020, HOLDING THE LINE connects with Saidiya Hartman’s research on waywardness - dreaming and longing for a whole life nurtured in self-compassion, possibility and love, outside of the spectre of racialised violence and surveillance. Curious about how hope for survival, joy and release can manifest in the face of intersecting violences, HOLDING THE LINE suggests the following questions: Is the ability to live free a dream? What WILL freedom feel like?

Rick, a young man with a ton of talent, is considering suicide to escape from life's roughness towards mistakes. A strange middle aged gentleman tries to convince him not to, and a heated debate ensues.

In the past years, in France and in Germany, distrust between the people and law enforcement has been on the rise. For many citizens, the police has become their enemy.

Éve is a drag king fulfilled in her profession. Only one thing is missing to be happy, that her father accepts her as she is.

What will happen if propaganda will lose its voice? And become a pure silent movie performance. Suddenly it appears to be less powerful & impactful. Theatrical essence of propaganda is clear & striking. Journalists & hosts are actors on the scene of post-Greek theater embodying tragedy on screen. "The Society of the Spectacle" needs its own Avengers & propaganda fill these needs with fine actors. Sound is something we strive to find on YouTube, in social media or TikTok. Silent videos become uncomfortable unless they aren't filled with entertainment (including guns, murders or big newsbreak slogans).

In Garment/Movement, Lily Ashrowan explores space, physical response and time. Ashrowan depicts two women playing and performing amongst industrial debris, likening human arms and non-human levers in Hawick’s derelict Peter Scott mill, a site imbued with the past labour of women. A tense countdown booms out as the site’s discarded present is explored through the female body and entrancing gestures of the passing of time. Ashrowan challenges notions of play as simply jovial or as pastime, and fixes it firmly in real human experience, a method to understand the world.

In Elizabeth Junor, Ashanti Harris expertly maps a kind of settlement, recounting the life of the Guyana-born daughter of a Scottish carpenter and timber estate shareholder from the Black Isle – deploying voiceover, superimposition, frames within frames and onscreen text to highlight the modes of narration by which a life is catalogued.

Julia Parks' The Girl Who Forgets How to Walk offers up precise descriptions – and the poems of Cumbrian writer Kate Davis, which diligently recount the process of learning to walk following a childhood diagnosis of polio.

"Phytography" dives into the rich and varied world of plant chemistry. This collection of organic objets trouvés demonstrates how nature generates multiple creative solutions, each one structured intricately. Through the application of a simple chemical process, the selected leaves, petals and stems have imprinted their own images on the film's emulsion. Shapes, colours and rhythms whirl across the screen drawing the viewer into a world beyond language and speech.

During the pandemic that is taking place as I write, and the circumstances of being in lock down, making a film about freedom seems like a brilliant thing to do. And through making this film I have found that freedom is found in a place that I didn't expect it to be. I thought that freedom was found on the hills and in the valleys of the national park near where I live, but when I really looked at myself and my thoughts on the subject, I realised that, for me, freedom comes from within.

On the last Sunday of July in the city of Hueyotlipan, Tlaxcala, the Rising of the Lord of the Convent is an ongoing celebration that has remained as a tradition within the community, with the showcases of faith growing bigger by the year. 500 years after the arrival of the Spanish conquerors to mexican lands, the Catholic religion, their biggest trademark, is still deeply impregnated within the Tlaxcaltecan society.

A group of film and TV students go missing searching for the Stubermensch. Based on true events.

The past is always out of reach, yet we’re always pulled towards it. Ismaïl Bahri's poetic film plays with this paradox. We see two hands holding a photograph which is illuminated by strong light from two sides, blinding us to its contents. Only the shadows cast by the hands reveal what is hidden by the light: a crowd gathering on 20 March 1956, Tunisia's independence day. A synaesthetic gesture, where seeing is enabled by touch.

A documentary that offers a vision of the HIV epidemic from its beginnings in the ‘80s till present day, through the point of view of medical experts and actual affected individuals.

The pioneering direct action organised by the Palestinian-Israeli sex worker coalition Argaman Alliance in 2019 becomes the core of this courageous and uncompromising story. In response to the passage of a law criminalizing the purchase of sexual services, female members of the coalition take up the fight for their rights, raising questions about memory and how marginalized groups create and document their narratives. Using alternative means of expression, artist and activist Liad Hussein Kantorowicz sheds light on policies of exclusion and strategies of resistance, highlighting the difficulties of fighting for identity in a stifling reality. ‘Mythical Creatures’ forces us to reflect on how we make stories and what meaning they have in the context of the struggle for equality and justice.

Based on the realisation that it feels good to make a little fun of the "president of the wealthy" at the moment, the director chose to animate E. Macron in turn as a disco dancer, vampire-banker and extreme jet-skier!

During the 1980s, the transcript of a witch trial was found in the archive of a family property in south-west Germany. "Plant (879 pages, 33 days)" unfolds a conversation between mother and daughter that switches between historical facts and personal memories of the site.

Little Emma and her mum are put into a temporary accommodation after they lost their home. In search for a bathroom she accidentally stumbles from her dusty and mouldy room into a world of extravagance.

Deep into her dreams, Ava wanders through the mysterious walls of her childhood dollhouse.

Juna is a rebellious girl living in a post-apocalyptic world. She finds herself reborn in a different part of the universe after being killed by a ruling religious sect on Earth. As she comes to accept her new disposition in an unknown and frightening place, Juna makes several unexpected encounters with both herself and her surroundings.

I asked a few people how they would feel about masturbating or having group sex when other guys are involved, and some of them got very angry and made homophobic comments. So I made an animation celebrating sexual curiosity – if it feels good for everyone, do it and have a good time.

Nature and culture. Jesuits and shamans. Exploitation and slavery. Conquerors and colonized. Captains and beheaded. America. Spain. The strategic war games fought by pathogens. The infected frazadas (blankets) which Spaniards distributed to indigenous communities knowing that they would be their end.

A collage of fragmented shots of an apartment captured on 16mm film might seem mundane at first glance, but in the urgent density of light, material, and movement, it evokes a special emotional rhythm, which is underscored by David M. Shum's spherical sound pattern that evaporates from the space but will never be lost.

Learn about the exciting game of chess in this fun and adventurous story.

Bilal and his friends spend their summer fishing and hanging out on the banks of the Seine. Bilal is not a fisherman, not a gambler, not a flirt. Everything will change for him when he sees a strange, naked female creature passing through the water. Bilal then searches for her tirelessly.

The Penan people fight for the preservation of the rainforest, that is threatened by companies seeking to profit from the destruction of their environment.

An every-working-man physically trapped in a white void cubicle executes a droning routine that evolves into a mini audiovisual symphony of stasis as both imprisonment and liberation.

Times that make you hold your breath - as the invisible air becomes existential. "Holding My Breath" was recorded in the artist's studio, in times of the pandemic shutdown in March 2020. From Kahlen's ongoing series of "Works with Wind" 1989 - 2020.

In the indefinite future, artificial intelligence - in the form of mirrors and screens - fulfills the role of parents. The protagonist is a little girl to whom her mother-tablet tells the story of Colombre, a mythological immortal jellyfish. Aquatic, cellular, microscopic and underwater scenes comment on the adventure of the grown girl, determined to transfer her consciousness to the Colombre and thus guarantee the survival of the human race in a world now completely submerged by water.

"Fabula" is an experimental film by Jordan Baseman that asks questions about our dreams and dream experiences during the coronavirus pandemic of 2020. The film is narrated by the Harvard Medical School Dream Researcher, Dr. Deirdre Barrett. We hear Dr. Barrett discuss various dreams that she has collected through her research into Pandemic Dreams, their collective commonality, their significance and meanings, and their relevance to our times. Dr. Barrett also comments on the uniqueness of the Pandemic and the unusual dreams that have arisen as a result. The film was recorded entirely in London during Lockdown, using 16mm film and 6k digital film cameras. Time-lapse footage of clouds, are super-imposed with footage of the Thames and threaded through, layered with various shots lit by infra-red light. Fabula muses on our relationships with ourselves, one another, our environments and the meanings of our dreams while living with Covid-19.

Ethnoresidue is a video work made for Tramway TV that weaves textual and visual threads around an existing conversation with Kaur’s maternal grandmother that formed part of her book Be Like Teflon, 2019. Grounding itself in Pollokshields, Glasgow, a site of family and the cities south asian community, Kaur expands on the complexities and intimacies of identity, belonging, reckoning with histories and their entanglement in colonial structures that persist.

On October 18, 2019, Chile lives the most important social uprising since its return to democracy. “Italy Square” (neuralgic center of the capital), is re-baptized by the protesters as “Dignity Square”, transforming it into an iconic place of social demands.

The sister of the man of the house, the wife of this man, the sister of this wife and a maid, who is the best friend of the sister’s wife, have long lived together under the same roof, the roof of the man of the house. After so many years they have created a micro world of rivalries and secret envies. When the man leaves the house, the spell is broken and the craziest follies take over these women. Unexpectedly today, they should find kind of agreement.

Iconoclast Candela Capitán re-releases her transgressive dance piece for The 1975’s banned visualizer

Young Canela has been in his room for weeks, obsessed with becoming a trap music star. Nachito, his best friend, wants to get him out of the house, but Young Canela cannot lose sight of his goal.

Loving your heater is fine, but have it be unrequited could turn out to be dangerous.

Claudio is a young scientist who works as an assistant to a famous researcher. After his boss dies under strange circumstances, he's accused of espionage and murder. Trapped within his employer's facilities, Claudio is forced to partake in a mind-control experiment whose outcome turns out to be quite different from expected.