SIMPLE WORK OUT - Natasha Papadopoulou
Digital Performance | 2012 | Greece | 3' 20' | Color | Stereo | 16:9 | HD
Lísty od Mami/Letters from Mom - Asia Dér
2015 | Hungary | 10’46’’ | Color | Stereo | 16:9 | HD
'Letters from Mom' is an exploration about the time spent in the womb. How does this mysterious connection between the mother and the baby work?
A young, pregnant girl writes a diary. She addresses her future child, herself and her far away family. Fears, doubts and serenity come up. The voice of the mother together with the outside world penetrate more and more the foetus's isolated existence. The baby starts to take active part in their common life. The first 9 month, spent in the womb of your mother, is the most unexplored period of life, a period, which strongly effects and influences our personality. How does this mysterious connection between the mother and the baby work? How much can the baby perceive in that early stage? To which extend this preconscious experience form us?The film follows both visually and audiowise how this construction called "world" is being born for a a baby in that 9 month time. The only clear "voice" are the thoughts of the mother.
Calendar Girls - Lisa Birke
2014 I Canadá I 4' I Color I Stereo I 16:9 I HD
A humorous spectacle reveals the fallacy of the selfie while restoring the humanity of the stripped-down
“calendar girl.” A characteristically irreverent performance piece conceived by Lisa Birke, Calendar
Girls employs a dozen split screens to impart vignettes (captured over the course of 12 months) of the
artist in absurd pin-up poses set against striking natural backdrops. In short order, a supposedly playful
exercise turns provocative
Corium - Clelia Mello
2010-2016 | BR | 1’08” | Color | Stereo | 16:9 | HD
Sobre a derme da realidade
What beauty feels like - Fenia Kotsopoulou
2015 | UK | 2:48 | B&W | Stereo | 16:9 | HD
"What beauty feels like" is the slogan/logo of the famous hair removal product. A slogan that persuades the audience to believe that they will be "beautiful" as long they use this hair removal product for touchable, soft, desirable, extra smooth, moisturized and shiny legs that can proudly show off. Here the same slogan is used to celebrate:
The pleasure of "failing" to conform to certain presumptions about female appearance.The pleasure of "failing" to satisfy basic expectations of public presentation and image.The pleasure of "failing" to follow social standards for beauty.The pleasure of showing off real touchable, soft, desirable, moisturized,shiny, beautiful, hairy legs
De repente Barbara - Guerreiro do Divino Amor
2014 | Alemanha/Brasil | 12’26’’ | Color | Stereo | 16:9 | HD
O autor de ficção cientifica Bernhard Kempen viaja amiúde a trabalho em dimensões paralelas. É lá que um dia ele encontra Barbara, a sua segunda personalidade. Ele a ajuda a se materializar afim de vivenciar o que há muito tempo estava adormecido dentro dele.
La Grande Safae - Randa MAROUFI
2014 I France I Color I Digital 5.1 I Scope I HD
The film is inspired by a character known as The Great Safae. He was a transvestite, and spent part of his
life working as a domestic servant for my family, which was quite unaware of his "true" sexual identity.
FUCKING HIM - Adrian Garcia Gomez & C.O. Moed.
2015 | USA | 1'45" | Color | Stereo | 4:3 | DV
What is fucking?
What is love?
What’s the difference?
When do you know?
Her Silent Seaming - Nazli Dinçel
USA I 10.5min I Color I Sound I 16mm
A transcription of what I have been told during intimate experiences while separating from my husband. Sections consist of destroyed originals from Leafless(2011), motifs of the "feminine" alluding to Jack Smith's Flaming Creatures(1963) and of reconstruction of a pomegranate. These decorative objects are re-valued through a controlled act of cutting, with an allusion to synchronization. Obscured images clear out while the hand scratched text becomes harder to read with each section. Direct sound of cuts and hand processing are composed of 26 frame shots. Un-synced, it reveals a hearing of past images, as an act of translation.
STICK IT -Stefan Ramírez Pérez
2014 | Germany | 4’40’’ | Color | Stereo | 4:3 | HD
The single channel video STICK IT combines television footage of women's gymnastics with recordings of the artist attempting the same routines. Merging himself and the young gymnasts of the 1996 Olympics in Atlanta into one composite character, he enters an ambivalent position between envy, identifcation, rejection and critique of these highly controlled bodies and their restricted
performative roles. The video follows the preparation and execution of a foorroutine, suspending the marginal moment right before the action, encapsulating ambition, the pressure to succeed and the looming possibility of failure.
All That is Left Unsaid - Michele Pearson Clarke
2014 | Canada | 2’27’’ | Color | Stereo | 4:3
"With Audre Lorde acting as both subject and surrogate, All That is Left Unsaid is a daughter’s elegy for her mother. Both women lived with cancer for 14 years, and the absence of their wisdom, guidance and love is experienced as an ongoing loss. This short, experimental documentary reflects on all other black women gone too soon, in contemplating this aspect of grief."
Cut Out - Guli Silberstein
2014 I UK/Israel/Palestinian Territories I 4'19'' I Color I Stereo I 16:9 I HD
A radiant, raging girl is shouting and punching the empty space in front of her. She is roughly cut out from her surroundings by a computer algorithm struggling to contain her, and her enemies are rubbed off the frame. Is she real? Is she a dream? Gradually, more fragments of the scene are revealed, and the context is made clearer. The video-processing highlights the documented scene as image, both of a fight for freedom, and a media event.
Behind the Torchlight - Emily Drummer
2015 | USA | 8'18 | Color | Stereo | 4:3 | SD Video and Super 8
Behind the Torchlight creates a transhistorical space--a place neither here nor there--that reflects the missing history of the usherette in early American cinemas. Constructed using found footage and original footage shot at an abandoned movie theater in Brooklyn, NY, the film abstracts historical temporality. At once on display and concealed by the partial darkness of the theater interior, usherettes served as objects of fantasy for moviegoers and were themselves spectators.
