Catalogue 2021
Parcourez ci-dessous le catalogue 2021 des Rencontres Internationales, ou effectuez une recherche dans les archives des oeuvres présentées depuis 2004. De nouveaux extraits vidéos sont régulièrement mis en ligne, les images et les textes sont également progressivement mis à jour.
Giorgiomaria CORNELIO, Lucamatteo Rossi
Ubi Amor Ibi Oculus
giorgiomaria cornelio , Lucamatteo Rossi
Ubi Amor Ibi Oculus
Doc. expérimental | mp4 | couleur et n&b | 24:30 | Italie | 2020

"Ubi Amor Ibi Oculus" is the last chapter of a "trilogy of the wanderers"and an investigation of the relationship between blindness, faith and cinema. As Diderot once wrote:«It is the first time that I write in the darkness […] without knowing if I form characters. Where there will be nothing, read that I love you».

Giorgiomaria Cornelio (1997) and Lucamatteo Rossi (1996) founded the atlas Navegasión in 2016. The same year, they presented the film “Every bush a god that burns” on the 52nd edition of the International Film Festival of Pesaro. Their "Trilogy of the wanderers" (2016-2020) has been presented in numerous festivals and venues, such as the Rencontres Internationales Paris/Berlin, the Marienbad Film Festival, the Asolo Film Festival, the Dublin Science Gallery and the Richmond Center for Visual Arts (Western Michigan University). They curated exhibitions, books and theatrical works. They also collaborated with Franko B in the performance “Playtime” and in the collective exhibition “Young at heart, old on the skin” (Palazzo Lucarini).

Daniel Santiago CORTÉS
daniel santiago cortÉs
Doc. expérimental | super8 | couleur | 13:22 | Colombie | 2020

Today in Colombia, the last peace agreement shatters to pieces and violence takes over the country. Two films shot in 1984, lost for more than thirty years, come to light together. 84 drags the viewer between fiction and documentary through this cursed reels, into a divided country, between cities and countryside, condemned by a dark omen of repetition and death.

Filmmaker and producer of documentary cinema, his work focuses on experimentation with film archives around the notions of history and memory in Colombia, questioning official truths against hidden accounts. He directed the shorts ELAN (2014), MEMORIES (2016) and 84 (2020), he is producer of the feature documentary The reasons of the wolf (2020). His documentary short AVALANCHA (2021) and his first feature Espejos Rotos (2021) are in post production stage.

A Home For The Brave
hugo crosthwaite
A Home For The Brave
Animation | mp4 | noir et blanc | 3:29 | Mexique | 2020

"A Home For The Brave" is a stop-motion drawing animation short that tells the story of a Mexican migrant family crossing the border into the United States.

Hugo Crosthwaite is a visual artist from Tijuana, Mexico. He graduated from San Diego State University in 1997 with a BA in Applied Arts. Crosthwaite lives and works in San Diego, CA and Rosarito, Mexico. Hugo Crosthwaite is the 2019 winner of the Smithsonian's National Portrait Gallery Outwin Boochever Portrait Competition. His works are included in the permanent collections of the Los Angeles County Museum of Art; Orange County Museum of Art, Newport Beach, CA; Museum of Contemporary Art, San Diego, CA; San Diego Museum of Art, CA; Museum of Latin American Art, Long Beach, CA; Boca Raton Museum of Art, FL; the National Museum of Mexican Art, Chicago, IL; The Progressive Art Collection, and numerous private collections around the world.

Alexandra CUESTA
Notes, Imprints (On Love): Part I
alexandra cuesta
Notes, Imprints (On Love): Part I
Film expérimental | 16mm | couleur | 19:0 | Equateur | USA | 2020

A foreign city, the filmmaker’s surroundings, daily life. An accumulation of experiential instances that describe inhabiting a post-industrial landscape, the end of a love story, and the politics of the private and the public. The camera, as a device for recording and recollection, goes beyond evoking the past to become a tool for the appearance and exorcism of specters. Shot over a span of three years (2015-2018) in Upstate New York, Chile, Japan, Los Angeles, the California Desert, Miami and Mexico City, this is the first film of a six part 16 mm series, that meditates on love and the act of making.

Alexandra Cuesta. Filmmaker living in Ecuador and the U.S. Her films combine experimental film traditions along with documentary practices, and investigate the reciprocity of the gaze in time based representation. Her work has screened in festivals such as the New York Film Festival, Cinema Du Réel, FIDMarseille, BFI London, Oberhausen, Courtisane, Viennale and also at the Anthology Film Archives, Image ForumTokyo, Solomon R. Guggenheim Museum, MOCA, Palacio de Bellas Artes, among others. 

emanuele dainotti
Vidéo expérimentale | mp4 | noir et blanc | 4:20 | Italie | Belgique | 2020

May 2020, Limburg (Belgium). A peasant family is vaccinating their animals.

Emanuele Dainotti (b. 1987 in Milano, Italy. Lives and works in Antwerpen, Belgium) is an artist and filmmaker. Recent exhibitions include: Museum of the Moving Image (USA); Louvre Museum (France); Reykjavík International Film Festival (Iceland); Rencontres Internationales Paris (France); Museu de Arte Moderna do Rio de Janeiro (Brazil); CGAI (Spain); Hudson Valley MOCA (USA); Museu Nacional de Arte Contemporânea (Portugal); Festival Miden (Greece); FIVAC (Cuba). In 2018 he won the “International Competition for the Intermedia Artwork” organized by the Academy of Fine Arts in Kraków, The Faculty of Intermedia and the Foundation for Development of Intermedia Artwork. In 2019 a jury presided by Anish Kapoor and Anda Rottenberg awarded him with the “Now You See Me award” at Louvre Museum in Paris. In 2020 he is among the artists of Loops Expanded, an international network, dedicated to exhibiting and researching the concept and the form of the Loop.

Jérémie DANON
Plein Air
jérémie danon
Plein Air
Doc. expérimental | hdv | couleur | 26:30 | France | 2020

Au milieu d'espaces extraits de jeux vidéos, des personnes en réinsertion témoignent. Face caméra, ils évoquent leurs espoirs, leurs doutes et leurs difficultés depuis la sortie du milieu carcéral.

Sébastien DE BUYL
sébastien de buyl
Film expérimental | hdcam | couleur | 2:45 | Belgique | USA | 2020

Un esprit communique avec une lumière mystérieuse.

Sebastien De Buyl est ne? le 23 fe?vrier 1987 a? Houston, Texas. Eleve? par ses deux parents belges dans les «suburbs» du Texas, Sebastien change d’imagerie en troquant l’aride contre l’humide lorsqu’il revient a? Bruxelles a? l'a?ge de 15 ans. A 18 ans, il rec?oit un appareil photo et gagne un concours de photographie la me?me anne?e. Sebastien suit une formation artistique au UCCA Maidstone dans laquelle il pratique pluto?t la peinture. Il re?alise une reproduction d'une photographie de Diane Arbus qui retiendra l'attention de l'e?cole, au point que son tirage est choisi pour la couverture du recueil d'art et de poe?sie Londonien Succour. Aujourd'hui, cette photographie est encore confondue avec l'originale sur de nombreux sites. En 2012, il re?alise Lone Wolf, un long-me?trage tourne? en gue?rilla (Belgique, France, Espace) librement adapte? du roman de Jim Harrison «Un bon jour pour mourir » En 2015, Sebastien co-e?crit le long-me?trage, The Life List avec Louise Dubois pour Belga Films. En 2016, Sebastien re?alise Tournures, court-me?trage sur la the?matique de l'ine?galite? homme-femme. Le film connait une belle vie en festivals. En 2017, il re?alise Ya me voy, long-me?trage documentaire, portrait croise? d'un petit village de pe?cheurs dans le golfe du Mexique. Le film est projete? au FIFF en 2017. Sebastien est actuellement en post-production de Usures, en pre?-production de son court- me?trage de fiction De?mon et en de?veloppement de son nouveau film documentaire au Venezuela.

manuela de laborde
Doc. expérimental | 16mm | couleur et n&b | 18:50 | Mexique | 2019

En La Era (In The Era) is an abstract work documenting the Experimental Concrete Workshop in Las Pozas, Xilitla. A diptych of Manuela’s subjective style of documentation, the film uses color and black and white to create two separate dreamlike and fragmented expressions of a single event: a group of foreigners immersed in the jungle among the surreal constructions of Edward James while creating sculptural works of their own. The film’s viewer is thrust into all that this stunning setting entails - the local residents, the nature, food preparation… En La Era is firmly grounded in the sensorial, with Camila Fuchs’s sound design melding sound scoring with field recordings from beyond the viewer’s visual frame of reference.

In 2012 she exhibited her solo show, Maquettes, in Generator Projects, Dundee; in 2013 screened, Sun, at London MexFest with the live score of Camila Fuchs; her short films Viveros, The exponential Nature of Images and Le Visible et L’Invisible where shown at Antimatter FF, Jihlava IDFF and Milwaukee UFF; and this year her thesis film, As Without So Within, was screened at Toronto International Film Festival, Winnipeg WNDX (Best International Short), 25fps Festival in Zagreb (Grand Prix), FICM of Morelia and International Film Festival Rotterdam, New Directors MoMA + FSLC and VideoBrasil among others. Manuela is currently one of the ‘resident’ filmmakers for Oberhausen Film Festival - Conditional Cinema for which she is finishing her film, Ficciones. During October this year Manuela attended the artist residency at LIFT (Liason of Independent Filmmakers in Toronto).

Midnight movie
arthur debert
Midnight movie
Animation | mov | couleur | 4:18 | France | Allemagne | 2018

De courtes séquences d’animation reprennent, dans les grandes lignes, les formes, les mouvements et les bandes sonores des jingles utilisés par les compagnies de production internationales. Ces spots épurés s’enchaînent à l’infini, et amorcent un film qui ne commencera jamais. Par accumulation, ces logos débarrassés de leur nom, composent un film qui évoque les grandes et petites histoires du cinéma. « Midnight movie » évoque la marchandisation de ces films, produits et diffusés en masse tout en renvoyant au « Cinéma de minuit » (1976-2018), une émission de télévision française consacrée au cinéma. En suggérant ces marques déposées qui nous sont familières, « Midnight movie » souligne que ces courtes séquences constituent déjà des récits complexes ; des court-métrages pensés et réalisés par des cinéastes. En déplaçant l’attention sur ces jingles, « Midnight movie » tente de questionner ce que l’on ne voit plus, et qui pourtant fait partie intégrante de la production de films, et nous interroge sur la notion d’auteur avec un clin d’oeil à la figure de « l’homme orchestre ».

Arthur Debert, né en 1990 à Paris, vit et travaille à Paris et à Berlin. Il a grandit dans le Nord Est de la France. Sa passion pour l’animation le dirige vers des études de cinéma puis vers des écoles d’art. Il travaille pour des institutions et assiste de nombreux artistes, avant de passer un an à Shanghai où il réalise un post-diplôme « Ecole Offshore » de l’ENSAD - Nancy. Post-Diplôme dont le programme se focalise sur l’influence de la globalisation sur les écosystèmes artistiques, et la compatibilité entre les pratiques de l’art et la société. En 2016 il s’installe à Berlin où il développe des projets dans le domaine de la vidéo et des nouveaux médias. Dans sa pratique artistique, Arthur Debert valorise les formats collectifs et les principes d'échange direct. Au cœur des projets qu'il initie, se trouve la question de la transmission et de la survie des connaissances, à la fois subjectives, anecdotiques et mémorables au travers d’installations, de vidéos et d’éditions.

Michelle DEIGNAN
michelle deignan
Animation | mov | noir et blanc | 2:7 | Irlande | Royaume-Uni | 2020

Idiots combines words and beats into an apoplectic symphony. It's language is raw and jagged, stuttering onto the screen into rants, shouts and screams. This film is angry on your behalf.

Michelle Deignan makes moving image, photographic and print works, for gallery exhibition, for cinema and for other screening contexts. With moving images she creates factual and fictional narratives that present alternative experiences and understandings of identity and place. These films often feature the triumphs and failures of protagonists struggling to be seen, remembered or heard as they fight for agency. Michelle's moving image work is distributed by LUX. She is one of a group of international women artists who collectively produce The Crown Letter, online participatory art project that began in April 2020.

Anita DELANEY, -
anita delaney , -
Vidéo expérimentale | mp4 | couleur | 1:28 | Irlande | Royaume-Uni | 2020

Well (2020) is a plea for domestic connection. Lonely and intimate at the same time, it is comprised of short shots of ordinary moments of life at home. It’s a quick inhale, quick exhale. It’s a fingers crossed and let’s hope for the best.

Irish artist Anita Delaney lives and works in London. Recent screenings and exhibitions include Very Thirsty at Borzoi Tower, Chicago, February 2020, 6 x 6 Project at Set, London, September 2019 and Sick Monday at the Horse Hospital, London, July 2019.

Northern Drift
alexis destoop
Northern Drift
Doc. expérimental | 4k | couleur | 56:30 | Belgique | 2020

Northern Drift A Film by Alexis Destoop - 2020 – 56 min – 2K – color – 1.85:1 aspect ratio – 5.1 sound - English / Norwegian / Russian spoken Northern Drift is set in the sparse, yet occupied wilderness of the Norwegian-Russian borderland in the European High North, home to the indigenous Sami culture. The area became an industrial development site in the late 19th century. It is not only a region whose landscape still bears visible traces of the conflicts of the last century, but also one that has come to play a key role in an ongoing Northward expansion fueled by the sense that climate change will make the north an untapped economic goldmine. Resulting from long-term research conducted in the shadow of the protocols and restrictions around the political border, Northern Drift takes the form of an investigation whose object is never quite revealed. Assembled from personal experiences, collected testimonies and local stories, the film presents a journey across the contentious Norwegian-Russian borderland. Exploring the persistence of frontier imaginaries, the film is at once travelogue, anthropological document and retro-futuristic sci-fi, blending these tropes into a re-imagined geography through and a poetic exploration of a labyrinthine zone where past and future are confounded.

Alexis Destoop’s work explores the workings of the image and narrative, the experience of time, and the processes of identification and memory. His practice covers the expanded field between photography and film and has been influenced by his experience in the performing arts as well as his studies in art history and philosophy.? Referencing classical representations of the human figure, his earlier works focus on duration and performativity. In recent years his situated practice has focused on transitional environments where ecological pitfalls, economical aspirations, geopolitical tensions and colonial histories coalesce. Rather than treating landscape as a sublime natural object, he approaches it as a thoroughly human construct – with stratified meanings and histories. This explains the decision to attend to contentious zones where global and local processes and interests collide and intertwine, and where it becomes possible to rethink notions of centre and periphery, self and other. Blending fact and fiction, history and speculation, Destoop offers a fragmented, subjective cartography of the transitory states that constitute our present era.

The Golden Wish
shwan dler qaradaki
The Golden Wish
Vidéo | mov | couleur | 5:29 | Norvège | Iraq | 2019

The backstory for The Golden Wish is that the danish left government`s suggestion that the police could be able to seize jewelry and valuables from asylum seeker as they arrive in to the country. The jewelry and the valuebles would finance board and lodging for the newcomers. In connection with this project I have been to Iraq and visited two large refugee camps outside of Suleimaniah. The refugee camps are Arbar and Barika and they are located 29 km southeast of the city Suleimaniah. In all their are 32 000 refugees in both camps together. I was on the lookout in their local marked and contacted jewelry dealers and private persons in the area. I then buyed their gold jewelry, melted and casted it to a text based installation, formed to the sentence: “Everything will be ok”.

I am a artist that works within drawing, painting, installation, video and film. Thematically in several of my work I have worked with my own experiences as a Kurdish refugee, but my experiences can provide knowledge of universal issues that can be linked to being a human being on the run. I am originally from Iraqi Kurdistan, I completed a five-year art education before fleeing due to persecution in 1997. After a challenging escape through 11 countries, I came to Norway in December 1999 and completed art education here as well.

Tommaso DONATI
tommaso donati
Doc. expérimental | hdcam | couleur | 21:30 | Suisse | 2020

Jusqu'au début du XXe siècle en France, le jeu de cache-cache était appelé cligne-musette. Dans un paysage hivernal, le film suit cinq enfants et un jeune homme qui errent seuls entre les bâtiments du quartier populaire de Valibout, situé dans la ville de province de Plaisir. Leurs chemins ne se croiseront pas, mais semblent destinés à connaître le même sort, celui d'être abandonnés à eux-mêmes, de se cacher et de ne pas être trouvés.

Né en 1988, Tommaso Donati vit et travaille à Lugano, en Suisse. Son travail combine une approche narrative avec le cinéma documentaire et s'articule autour du thème de la marginalité.

Vidéo expérimentale | mov | couleur | 14:22 | Serbia | 2020

A visual story that invokes the experience of forgetting, filmed in a desolated socialist children's health resort in the coastal town of Krvavica, Croatia. The title is borrowed from a poem by the Yugoslav surrealist and revolutionary poet Oskar Davi?o, which is an attempt to record the inner images left without music and sonority. The poet invokes words and terms that he forgets because he suffers from aphasia. A Record of Landscape without Prehistory indirectly relies on Davi?o’s poetry, linking it to the lost future of a site on the Adriatic coast. An epistolary narrative based on documents - postcards from summer vacations, is placed at the site and told in a repetitive time circle. A circle, which is always a new subtraction in the medium of recording, is forgetting. This forgetting is not forgotten but desired since the medium itself records (digital), communicates (magnetic) and exposes (analog) human inability to preserve the memories and history.

Doplgenger is an artist duo from Belgrade, comprising Isidora Ili? and Boško Prostran. Doplgenger engages as a film/video artist, researcher, writer, and curator. The work of Doplgenger deals with the relation between art and politics by exploring the regimes of moving images and the modes of their reception. They rely on the tradition of experimental film and video, and through some of the actions of these traditions intervene on existing media products or work in expanded cinema forms. Their work has been shown internationally at institutions such as Museum Wiesbaden, Kunstmuseum Bonn, the Centre Pompidou in Paris, Stedelijk Museum Bureau Amsterdam, Osage Gallery in Hong Kong, the Museum of Contemporary Art in Zagreb, and the Museum of Contemporary Art Vojvodina. Doplgenger’s films have been screened and selected for film festivals including the International Film Festival Rotterdam, Seattle International Film Festival, Kassel Documentary Film and Video Festival, Cairo Video Festival, Festival des cinémas différents et expérimentaux de Paris. Doplgenger has participated in symposia and discussions, organised educational projects and workshops, presented lectures, and screened curated programs worldwide. They edited publication „Amateurs for Film” and serve as curators and selectors for the Alternative Film/Video Festival.

Empirical Data 2.0
george drivas
Empirical Data 2.0
Fiction expérimentale | hdv | noir et blanc | 30:0 | Grèce | 2019

Empirical Data 2.0” is based on the personal experience of the georgian actor David Maltese as an immigrant in Greece, and his trajectory from entering the country to taking up acting. ?he protagonist of the film David Malteze, impersonates himself, at his first professional steps 10 years ago in one half of the screen. The reenactment of the actor’s real life is contrasted with a monologue held by himself, presented at the other half of the screen.

George Drivas was born in Athens, Greece. He has represented Greece at the 57th Biennale di Venezia, 2017. George Drivas’s work has been featured as a Solo Show at AnnexM / Megaron, Athens (2020), the National Museum of Contemporary Art, Athens (2018 and 2009) and La Galleria Nazionale, Rome, Italy, (2017) , as a tribute to him at the Lumen Quarterly Festival, Beijing, China (2017/18) and Athens’s International Film Festival (2014), and as part of a group exhibition or festival among others in “back forward rewind”, Media Art Lab, Moscow, Russia, “Imagined Communities”, 21st Biennial of Contemporary Art_Videobrasil, São Paulo, Brazil (2019-20), “Resilient Futures”, Contemporary Art Center of Thessaloniki (CACT, 2018), “ANTIDORON- the EMST Collection”, documenta 14, Kassel, Germany (2017), “As Rights Go By”, Q21 International, MuseumsQuartier Vienna, Austria (2016), Festival du nouveau cinéma, Montreal, Canada, (2015), “future past – past future”, Transmediale Festival, Berlin, Germany (2014), “Art Projections”, Thessaloniki Biennale of Contemporary Art (2013), “Hybrid Stories”, National Museum of Contemporary Art, Athens, Greece (2013), “Melancholy in Progress”, Hong-Gah Museum, Taipei City, Taiwan (2012), “FILE”, Electronic Language International Festival, FIESP Cultural Center, Sao Paulo, ?razil (2012), Center on Contemporary Art, Seattle, USA (2012), “Polyglossia”, Onassis Cultural Centre, Athens, Greece (2011), “Digital Wave”, Thessaloniki International Film Festival, Thessaloniki, Greece (2009); “Young Greek Artists – In Present Tense”, National Museum of Contemporary Art, Athens, Greece (2008)and Media Art Forum, XXVII Moscow International Film Festival, Moscow, Russia (2006)

Dana Berman DUFF
The House Is Empty
dana berman duff
The House Is Empty
Film expérimental | 16mm | couleur et n&b | 10:7 | USA | 2020

A cockroach, a woman, a dramatic encounter in a closet—from the roach's point of view. This is the finale of the Catalogue film series. The piece was inspired by The Passion According to G.H. (1964) by Clarice Lispector, who was a Brazilian novelist of the 60's, a favorite of the French theorist Hélène Cixous. Lispector's novel, The Passion According to G.H., describes at its climax a moment of fellow-theorist and feminist Julia Kristeva's theory of abjection, where the inside crosses the boundary to the outside (the insides of the smashed roach ooze out) and cross another boundary when the woman puts the viscera into her mouth.

Dana Berman Duff’s artworks are included in museum collections, such as the Museum of Modern Art (NYC), the New Museum of Contemporary Art (NYC) and private collections. In 2019 her large multi-channel video installation titled "What Does She See When She Shuts Her Eyes" (in collaboration with Sabina Ott) was mounted at Aspect Ratio in Chicago and Alchemy Moving Image Festival in Scotland. Works in small format film and video have been screened in numerous festivals including the Toronto IFF, IFF Rotterdam, the Biennale de L’Image en Mouvement (Geneva), Edinburgh IFF, ExIS (Seoul), FIDMarseille, Antimatter Festival, Alchemy Film Festival (Scotland), Experiments in Cinema (Albuquerque), Rencontres (Paris/Berlin), Bideodromo (Bilbao), Dortmund/Cologne International Women’s Film Festival, SF Cinematheque, REDCAT (Los Angeles), FIDMarseille Film Festival 2020 (A POTENTIALITY awarded Alice Guy Special Mention), and many others. Duff was named a 2020-2021Cultural Trailblazer by the Los Angeles Department of Cultural Affairs, and a retrospective of her short films is scheduled in Los Angeles for spring 2021 at REDCAT in Los Angeles. She taught art and experimental film at several colleges and universities including NYU, Bennington, UCLA, Art Center Pasadena, and for many years at Otis College of Art and Design in Los Angeles.

Bryony DUNNE
Killing the Messengers
bryony dunne
Killing the Messengers
Doc. expérimental | dcp | couleur | 11:0 | Irlande | 2020

'Killing the Messengers' relates ancient Greek mythology to modern ornithology, exploring birds as omens, and as trackers of climate change, pollution, and habitat loss. We first observe the cosmos through a telescope inside the National Observatory of Athens, before reaching a “bird ringing” table abuzz with scientists and volunteers on the Greek island of Antikythera. Each spring and autumn, the team carries out research on the remote island, where thousands of migratory birds coming from either Europe or Africa rest and refuel before continuing their journeys across the Mediterranean Sea. Like the manteis or “professional diviners” of ancient Greece, who sought omens in birds, these scientists are seeking messages, too.

Bryony Dunne is an Irish visual artist and filmmaker living and working between Wicklow (Ireland) and Athens. Building on her background in documentary photography and visual anthropology, she explores the relations between humanity and nature, the arbitrariness of cultural representation, and the fantasies of human control. She has exhibited her work at venues such as BAHAR – Istanbul’s offsite project of Sharjah Biennial 13, The Mosaic Rooms (London), The Gypsum and Townhouse Gallery (Cairo), the Irish Film Institute (Dublin) and DEPO (Istanbul), and has participated with her films at a number of International film and video festivals such as Thessaloniki Documentary Film Festival (Greece), Aesthetica (UK) and Rencontres Internationales Paris/Berlin. A recent film project, Above the Law, was supported by Screen Ireland and premiered at Cork International Film Festival. In 2020 she was a recipient of a Film Project Award from the Arts Council of Ireland to work on her first feature film entitled Pembe about the death of the last northern white male rhinoceros. In 2021 she was selected to participate at the Jan Van Eyck academy in the Netherlands.

The Last City
heinz emigholz
The Last City
Fiction | hdv | couleur | 100:0 | Allemagne | 2020

An archeologist and a weapons designer – who, in a prior life, knew each other as a filmmaker and a psychoanalyst – meet at an archeological excavation site in the Negev Desert and begin discussing love and war; a conversation they continue in the Israeli city of Be’er Sheva. The film then proceeds with changing actors in changing roles; a round dance that takes us to the cities of Athens, Berlin, Hong Kong and São Paulo. The characters include: an old artist, who meets his younger self; a mother, who lives with her two grown sons – a priest and a policeman; a Chinese woman and a Japanese woman; a curator and a cosmologist. Their dialogues deal with now obsolete social taboos, generational conflict, war guilt and cosmological musings. The architecture of each of the five cities serves as the third participant in the protagonists' dialogues, and completes their philosophical and metaphysical journeys.

Born in 1948 near Bremen in Germany, Heinz Emigholz trained first as a draftsman before studying philosophy and literature in Hamburg. He began filmmaking in 1968 and has worked since 1973 as a filmmaker, artist, writer and producer in Germany and the USA. In 1974 he started his encyclopaedic drawing series “The Basis of Make-Up”. He looks back on numerous exhibitions, retrospectives, lectures and publications. In 1984 he started his film series “Photography and beyond”. He had held a professorship in Experimental Filmmaking at the Universität der Künste Berlin 1993-2013, and co-founded the Institute for Time-based Media and the Art and Media program, there. In 2003 Filmgalerie 451 started an edition of all his films on DVD. Publications a.o.: "Krieg der Augen, Kreuz der Sinne" (War of Eyes, Cross of Senses), "Seit Freud gesagt hat, der Künstler heile seine Neurose selbst, heilen die Künstler ihre Neurosen selbst" (Since Freud Said That the Artist Heals His Neuroses Himself, Artists Have Been Healing Their Neuroses Themselves), "Normalsatz – Siebzehn Filme" (Ordinary Sentence – Seventeen Films) and "Das schwarze Schamquadrat" (The Black Sqare of Shame) (all four books were published at Verlag Martin Schmitz); “Die Basis des Make-Up (I) and (II)”, “Der Begnadete Meier”, “Kleine Enzyklopädie der Photographie” (Small Encyclopaedia of Photography) and “Die Basis des Make-Up (III)” (in "Die Republik" No. 68-71, 76-78, 89-91, 94-97 and 123-125); "Sense of Architecture" with more than 600 photographs. Heinz Emigholz is a member of the Academy of the Arts in Berlin.

Auftritt und Abgang von Mascha B.
laura engelhardt
Auftritt und Abgang von Mascha B.
Doc. expérimental | 4k | couleur | 14:0 | Allemagne | 0 | 2020

"Entrance and Exit of Mascha B." follows a young woman through a digital transformation process. In the premises of a big architectural visualization company, delicate operations give rise to a photorealistic rendering that is to promote a yet-to-be-built office space. The virtual office room is furnished and inhabited by Mascha B. and digital colleagues. The final rendering process is accompanied by the aria from the 1881 fantastic opera The Tales of Hoffmann, in which the hero hopelessly falls in love with the mechanical puppet Olympia.

Laura Engelhardt (born 1988 in Bremen) earned a degree in Architecture and Fine Arts (London, Stuttgart, Berlin) and is currently completing the postgraduate program in Film at the Academy of Media Arts Cologne. Her work examines built and imagined architectures and the fragile relations between the human body and its environment. Her films are shown internationally at festivals and exhibitions. Currently, she is writing and developing her first feature film.

Mélissa EPAMINONDI, Esteban Ulrich
Deconstructing Niemeyer
mélissa epaminondi , Esteban Ulrich
Deconstructing Niemeyer
Doc. expérimental | mp4 | couleur | 1:9 | France | 2020

Sur une succession d'images documentant le chantier de remise en état de la coupole du siège du Parti Communiste Français, la voix de l'architecte brésilien Oscar Niemeyer traverse le temps pour nous dévoiler le cœur de son œuvre et de sa pensée.

Mélissa Epaminondi: Mélissa Epaminondi est née en 1977. Elle vit et travaille entre Paris et Oletta (Corse). Elle est DPLG diplômée de l’Ecole d’Architecture de Luminy Marseille. Architecte et artiste, son travail reflète une vision sensible en même temps qu’une réflexion étayée sur les questions environnementales. Elle poursuit sa pratique initiale et réalise des films, vidéos et installations. Esteban Ulrich: Née à Buenos Aires, Argentine, en 1975 il est formé dans des écoles françaises pour commencer sa carrière professionnelle chez Los Inrockuptibles, la version argentine du magazine français. Depuis, il se partage entre le journalisme, le cinéma, la photographie et l'expérimentation avec les nouvelles technologies appliquées à l'art et les médias. Il vit à Paris depuis 2015.