Deutschland 2017, S/W, 16 mm, 02:45 Min.
Regie; Kamera, Ton: Conrad Veit
Drehbuch, Programmierung, Schnitt: Conrad Veit, Charlotte Maria Kätzl
DarstellerInnen: Charlotte Maria Kätzl
Blastogenesis II fantasizes an evolution between science fiction images of the 1950s and images of queer and bizarre experimental films. A film that shows creatures between human and animal, born out of a plant seed pouch in a setting of the world’s end. It shows birthing, living feeding and dying of rare species like in nature documentaries but with the aspect of drag, which brings up the question about fetishism and experimental porn.
Belgien 2018, Farbe, 01:00 Min.
Regie, Drehbuch, Kamera, Schnitt, Ton: Ian Menoyot
In the periphery of Europe’s capital, two children protest.
Frankreich 2018, Farbe, 01:27 Min.
Regie, Kamera, Schnitt, Ton: Matthew Lancit
Moments after buses cleared this Paris street to take the refugees to some unknown location, I walk along the now emptied tents that formerly housed them.
Dänemark 2018, Farbe, 01:24 Min.
Regie, Kamera, Schnitt, Ton: Maia Torp Neergaard
This is about feeling free. Is it a need, a condition? How do we remember to exhale?
Südkorea 2018, Farbe, 02:44 Min.
Regie: Song Hyun Jeong
Programmierung: Resolve Animationx
Schnitt: Davinci Resolve
DarstellerInnen: Jung yoo eun /Choi eun young
Show that intimate relations can receive anything.
Kanada 2018, Farbe, 01:00 Min.
Regie, Kamera, Schnitt, Ton: Nathan Hughes-Berry
DarstellerInnen: Vale Abbott
A look at the anxiety that surrounds the creative process.
Norwegen 2017, Farbe, 01:45 Min.
Regie: Ismael Sanz-Pena
A short animated film made using just one image exploring the moving potential of the still sculptures on the facade of Nidaros Cathedral in Trondheim, Norway.
Vereinigte Staaten 2018, Farbe, 02:48 Min.
Regie, Drehbuch, Schnitt, Programmierung: Emma Courtney
This experimental film examines the phenomena of crying statues, particularly one found in Medjugorje. Through use of found archival footage, color, and quotes from the comment section of the source video, the film grapples with questions of religion, feminism, and how to believe.
Österreich 2018; Farbe, 01:30 Min.
Regie: Vera Sebert
Happiness is a Prehistoric Suicide Machine shows a series of portraits. The stills are recorded by hand camera and change regularly. After several procedures they reveal a person hiding his/her face behind the portrait photograph of a laughing man. Every new picture is subtitled by another confession of present happiness. These words are put into the recorded person’s mouth. Steady repetition, increase of the sentences to superlative and the picture inside the picture make up a tight facade and expose their own media production.
Vereinigte Staaten 2017, S/W, 02:17 Min.
Regie: Youjin Moon
Through the visual manipulations of filmstrips, this film explores presence and absence, light and shadow. Photograms are created onto 16mm film, using various false eyelashes, artificial hair and other textural objects. Brief bursts of light and patterns of intertwining lines create distinct rhythms, which evoke a blinking eye.
Deutschland 2018, Farbe, 01:15 Min.
Regie: Hannah Voget
Who are those other people after all? What does it mean, to have an idea of someone? How can I understand who YOU are?
Deutschland 2018, Farbe, 01:18 Min.
Regie: Florian Siegert
Drehbuch, Kamera, Ton: Florian Siegert
Programmierung, Animation, Schnitt: Florian Siegert
Musik, DarstellerInnen: Leonie Klöpfer
Glimpse is a climax without a climax. The film shows blue surfaces which are hard to identify, fed by the sound of steady breathing, which is closing and opening the pictures aperture.
The blue light is used in public spaces to prevent drug addicts to find their own veins.
Kanada 2018, Farbe, 01:35 Min.
Regie, Kamera, Animation, Schnitt: Hannah Epstein
Drehbuch, DarstellerInnen: Erik Armbruster, Rob Munro
Jim Bones in a new American archetype, he is back from the grave and he has unfinished business but also, the business is not finished with him.