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The film follows the journey of Alex, an Ultras member, in his hometown Sfax,Tunisia, while visually representing his inner thoughts, feelings, frustrations and ideas to showcase the impact and influence of the Ultras movement on the city's urban scene and culture.

Youssef Ksentini is a film director and a visual artist from Sfax, Tunisia. In 2009, he started experimenting with street art, design and music production with his underground local Ultras group before starting studying film directing and screenwriting. He got his master degree in Tunis in 2015, won 48HFP Tunis twice in 2014 and 2016 and was involved in other projects as a film director before leaving in 2018 to NYC, USA on an art visa where he spent two years there and wrote and directed two short films. In 2021 he moved to Paris, France to get a professional master degree in contemporary art market at IESA.

A trip to Las Vegas and a hike down a red carpet of star trodden footprints highlights this glimpse of glamorous glitz as flash bulbs pop to ignite titans of tinseltown as they rub shoulders with brethren of lower voltage.

George Kuchar ranks among the most exciting and prolific independent videomakers working today. With his homemade Super-8 and 16mm potboilers and melodramas of the 1950s, ?60s, and ?70s, he became legendary as one of the most distinctive and outrageous American underground filmmakers. After his 1980s transition to the video medium, he remained a master of genre manipulation and subversion, creating dozens of brilliantly edited, hilarious, observant, often diaristic tapes with an 8mm camcorder, dime-store props, not-so-special effects, and using friends as actors and the ?pageant that is life? as his studio. In 1992, Kuchar received the prestigious Maya Deren Award for Independent Film and Video Artists from the American Film Institute. He teaches at the San Francisco Art Institute, where he makes many of his tapes in collaboration with his students. "The best for last, though: the filmmaker George Kuchar... When the day arrives--and it will--to appoint an official United States cultural ambassador to Outer Space, Mr. Kuchar is the obvious choice. I will say no more. See his films. He is beyond enigmatic. He is "it." I salute him." --Holland Cotter, Review of "Good Morning Midnight" exhibition at Casey Kaplan Gallery, The New York Times, July 27th 2007 All title descriptions courtesy of George Kuchar.

GAS IS OVER, a boy's dreams revolve around one particular lake. His dreams seem as if they are about to come true when he sets off for the lake with his father. However, their journey is riddled with challenges and the boy’s father struggles to keep his promise.

Palestinian contemporary artist and filmmaker Shadi Habib Allah takes us with him on an unlikely journey of discovery ‘ at gunpoint across the Sinai Peninsula, led by Bedouins who will force us across an unmapped terrain whose only signposts are the small stories they tell about the stakes of living, dying, and moving through this mysterious space. Stories, itineraries, directions, and allegiances become as blurred as the status of the Bedouins themselves, who remain unrecognized non citizens of this no man’s land, through which Habib Allah is led ‘”behind the lines of military checkpoints, off the political, economic, and historical grid, a place where these desert outliers quietly continue their lineage with the help of snakes”.

The virtual installation undressing giants is a conglomerate of a shedding cycle’s remains. An abandoned shell of a past consciousness – an abstract organism of creation that is already left behind by its host. Visitors are the protagonists of the installation’s eerie space. They become players as they take a first-person point of view while cruising around the floating parts of this entropic, fragile yet solid, ultimately unknown body. Travelers, who – called by the sirens of this virtual landscape – are unable to resist the urge to seek action and look for treasures in the seductive, bottomless void of the installation’s reality.

T(n)C was founded in 2017 by Agnes Varnai and Tina Kult. They live and work in Vienna and experiment with a wide range of media, including virtual reality, 3D, installation and fashion. By combining the different disciplines, they are researching immersive experiences to connect the digital and physical levels of realities. T(n)C believes in the power of joint efforts. Their aim is to expand the practices of collective storytelling with a collaborative approach.

Family Maker is a computer application that uses the macOS interface to convey family dynamics across cascading sequences of gray application windows that users operate in order to unlock mysteries of being in a family. The application might be read as a portrait of the artist’s family, but it doubles as a working model of family life, populated by windows with names such as Ego and Trauma that prompt association-making. The work has been conceived as a puzzle box to unlock and explore, and as a poetic support that can give form to the unnameable. Family Maker is assembled using a runtime engine, and its dynamics are simultaneously built and enacted. As such, the creative process itself is akin to diagramming and inhabiting the family. A user of the application experiences much of how it was made. Each clickable button and slider is loaded with references to past states and future consequences. It is presented as a regular software application that can be multitasked with other tasks, such as monitoring email and scanning for viruses. As the family is a process, future versions may be created. The work is distributed by Left Gallery.

Ryan Kuo is based in New York and is currently a resident in the Queens Museum Studio Program. He received a Master of Science in Art, Culture and Technology from MIT in 2014. His work is often process-based and diagrammatic, utilizing techniques from video games, productivity software, web design, motion graphics, and sampling. It tends to invoke a person or people arguing. Among his current projects, Ryan is building an artist’s book about aspirational workflows, File: A User’s Manual, modeled after software guides for power users. His works and writing have most recently appeared at the Current Museum of Art (NYC), Equity Gallery (NYC), Front/Space (Kansas City), Spike Art Quarterly (Berlin), Goldsmiths (London), Carpenter Center for the Visual Arts (Cambridge, MA), Boston Cyberarts (Boston), MIT Media Lab (Cambridge, MA), and Minibar (Stockholm). He was a resident artist at Residency Unlimited (NYC) in 2017.

Four communist agitators return from a successful mission in China to Moscow and are congratulated for their efforts by the Central Committee (The Control Chorus.) The four agitators, however, inform the committee that during their mission they were forced to kill a young comrade for their mission to succeed. The committee withholds its verdict until after the four agitators re-enact the events that led to the young comrade’s death. The agitators tell of how they were sent on a mission to educate and help organize the workers in China. The director of the party house (the last before the frontier) helps the four agitators and the young comrade in the obliteration of their true identities. They are told to keep concealed that they are communist, for their discovery would endanger the mission and their lives. However, once in China, the sights of injustice and oppression enrages the young comrade on several occasions, when he is time and time again not able to contain his passion, immediately acting to correct the wrongs he sees around him. As a result, he eventually exposes himself and proclaiming the teachings of the party. There, the agitators debate on what to do with him.

Can Kurucu is a filmmaker and artist focused on the sphere of the political image and its consequences. Can's work provides an insight into how digital images are made and what they represent, exploring the political and scientific elements that shape them, and reflecting on the image-making process and the deeper meanings behind the images within these broader contexts. Mariam Aslanishvili is an artist, photographer, and musician based in Berlin. Her artistic practice revolves around the exploration of human perception and the construction of realities, with a particular focus on translating personal experiences into the language of experimental cinema. Jack Hogan is a filmmaker from Waterford, Ireland. Their work focuses on the rich sociality of everyday life, foregrounding friendship and what constitutes good shared lives and places. Matthias Planitzer is a visual artist and doctor who explores scientific and political visual spheres and how they are rooted in their contexts.

In the emptiness of a landscape, a human being is climbing up the rocks testing her balance, three steps forward and three steps into nothing.

Antonella Kurzen was born in Switzerland in 1966. She started artistic studies in the USA and continued them in Switzerland, in Italia and in Germany. She then went on with cinema studies. Since 1998, she has been working as a freelance filmmaker and since 2002 as a video maker as well. Her last videos are elaborations of psychological conditions defined in natural environments, transformed according to intentions, in confined spaces.

The project is about the transforming cityscape of Kazan, the millennium old capital of the Republic of Tatarstan in Russia. With the brand-new buildings and anime costume characters “ Transformers ”, I visualized my impression of this fast-growing modern multicultural city, located in the middle Volga, about 600 km east from Moscow. In Kazan, newcomers would soon notice the futuristic bizarre architecture scattered around the city’s center. Those buildings are somewhat reminiscent of the contemporary but ambiguous glittering architecture in Kazakhstan’s capital Astana and Turkmenistan’s capital Ashgabat in Central Asia. In Kazan’s city center, visitors would also notice awkward-looking costume characters like ones from American-Japanese robot anime “ Transformers ” giving out leaflets or getting pictures taken with kids for money. Kazan is home to Tatars, a predominantly-Islam Turkic people, but it is more complex and unique, as Tatar, Russian and Soviet cultures have been intertwined in the past centuries there. Now, western capitalism gets mixed with this cultural melting pot, bringing even “ Transformers ”to the city and turning parts of the cityscape a little Disneylandish. Kazan is still in the process of this intricate transformation. This project demonstrates my vision of this transforming multicultural city located near the edge of geographical Europe.

After growing up in Japan, studying in journalism in the University of Missouri, Columbia, and living in Romania for a year, Ikuru Kuwajima has been living and working on visual documentary and art projects mainly with photography in various post-Soviet countries (Ukraine, Kyrgyzstan, Kazakhstan and Russia) in the past 10 years. After three years in Kazan, he now lives in Moscow, Russia, continuing personal projects. His artist books “ Tundra Kids ” and “ Oblomov ” were published in Vienna in 2015 and in Moscow in 2017, respectably.

Une silhouette féminine vêtue d?une très courte robe noire moulante à paillettes, se tient debout, devant un fond noir. La perruque noire qu?elle porte est à l?envers. De ce fait, les longs cheveux brillants et ondulés tombent vers l?avant et recouvrent ses seins. Un son techno cadencé démarre et se développe peu à peu. La silhouette soulève deux pompons et commence à se balancer en suivant le rythme. Le refrain répétitif « Control your body. Let the beat control your body - com?on dance with me » l?entraîne dans une agitation de plus en plus hypnotique. Au début, la silhouette paraît presque insignifiante et ridicule. Elle est un persiflage des filles techno : apparence voyante, cheveux ondulés, formes généreuses. Lorsqu?elle commence à bouger sur le rythme, ça a l?air bizarre. Mais petit à petit, on se laisse envoûter. Les paroles répétitives de la chanson semblent sortir de sa bouche et donnent l?impression que c?est elle qui les maîtrise et qu?elle ne fait pas que leur obéir. Tout à coup, elle nous balance des signes et des mots: extra, highlights, make up, generation, ultra, image, fondation, maximum, overdose, yeah. Ce sont les signes de la modernité, de la séduction, du masque. Ce sont les mots-clés de notre quotidien qui nous sont insufflés. En bougeant et en agissant ainsi, elle nous apparaît peu à peu comme une idole ; dans le sens archéologique du terme, autrement dit, comme un objet vénéré. Elle devient une vraie idole de la musique pop, une Vénus de Willendorf du disco. Les pompons qui servent habituellement à encourager les équipes dans les stades américains, elle les utilise pour nous coacher, nous hypnotiser. Elle nous répète sans cesse : contrôle-toi, laisse-toi contrôler.

1993-99 Etudes à l?Ecole Supérieure des Arts Appliqués Saar avec les Pr. Ulrike Rosenbach et Pr. Bodo Baumgarten, Pr. Horst Gerhard Haberl 1997 Création du Duo d?Artistes Stoll & Wachall 1999 Diplôme et Conservatoire à l?ESAASaar 2001-03 Enseignement à l?ESAASaar

Television images of politicians being interviewed show us different worlds of perception. While the politician speaks to reporters, the bodyguard concentrates on potential dangers in the surrounding area. The viewer becomes witness to two parallel worlds, yet is inclined to pay more attention to the politician, who speaks outwardly to matters of public interest. The bodyguard brings to the situation a dramatically greater intensity, but one that is directed inward. He is deep in concentration, communicating through a small earpiece with a network that remains hidden from the viewer. The images are characterized by this contrast, which endows them with a particular tension. The video shifts the focus onto the bodyguard`s inner perception.

The spectator follows the protagonist through a city one dark winter night. Where is she going? Why do we follow her? The city in the dark and the woman in the night provokes an eerie atmosphere, - without the film giving any answers to why. This unsolved story is based upon how we are seen and interpreted in the public sphere. All images are from urban places and contain a subtle doomsday thematic as a sweeping tone through the film.

Kvalvik has exhibited her work internationally including Göteborg International Biennial for Contemporary Art, Overgaden Institute for Contemporary Art; Copenhagen, LOOP Film Festival; Barcelona, Center for Contemporary Art; Glasgow, GalleriBOX; Akureyri, Galeria Miroslav Kraljevic; Zagreb, Kunsthalle Exnergasse; Vienna, Parkingallery; Tehran, Västerås Konstmuseum, Høstutstillingen Kuntnernes Hus; Oslo and Abandoned Gallery; Malmö.

"Distant Landscape" consists of images of landscapes in which traces of movement of the film`s narrator are recognisable within the desolate surroundings. Short texts roll over the images, telling the story of someone in a close and sensual relationship with nature.

Kristina Kvalvik (b.1980) is a Norwegian visual artist currently based in Copenhagen, Denmark. She studied film and fine art in Norway, Sweden and Canada, and completed her MFA at Malmö Art Academy (SE) in 2008. Her work deals with matters relating to surveillance, the inexplicable and the threatening. She examines the limitations of sight and our ability to interpret what we see. Kvalvik has exhibited her work internationally including Göteborg International Biennial for Contemporary Art, Overgaden Institute for Contemporary Art; Copenhagen, LOOP Film Festival; Barcelona, Center for Contemporary Art; Glasgow, GalleriBOX; Akureyri, Galeria Miroslav Kraljevic; Zagreb, Kunsthalle Exnergasse; Vienna, Parkingallery; Tehran, Västerås Konstmuseum, Høstutstillingen Kuntnernes Hus; Oslo and Abandoned Gallery; Malmö.

"Scent" is a cinematic game installation in which the player, as a dog, roams a war-torn city, gathering souls from the dead. As you walk, run, and hide amid unfolding atrocities, the game draws you into a raw, sensory experience of fear, darkness, and fleeting moments of hope. Stripped of specific historical or geographic markers, "Scent" explores what it means to witness without power.

Working at the intersection of cinema and videogames, artist Alan Kwan creates immersive experiences that evoke feelings of heartbreak, fear, and the sublime. ? In June 2025, he premiered his latest videogame, “Scent”, at Tribeca Festival in New York and Animafest Zagreb. An earlier iteration of the project received an Honorary Mention Award at Prix Ars Electronica. In 2022–2024, he initiated and led the development of “The Eyes”, a VR cinematic experience created in collaboration with Kachi Chan, which was showcased at SXSW Sydney. ? His other projects have been exhibited internationally at venues including Ars Electronica Center (Austria), ZKM | Center for Art and Media Karlsruhe (Germany), International Bauhaus Colloquium (Germany), Forum des images (France), Science Gallery Dublin (Ireland), Nam June Paik Art Museum (Korea), Museum of Contemporary Art Shanghai (China), M+ Museum (Hong Kong), and Pearl Lam Galleries (Hong Kong), among others. His work has been featured in media outlets such as the Discovery Channel, Popular Science, and The Boston Globe. ? Originally from Hong Kong, Kwan earned his master’s degree at MIT and is currently based in Chicago, where he is an assistant professor at the School of the Art Institute of Chicago.

“ 489 Years ” is transcribed according to the testimony of a former soldier in South Korea, Kim. It gives us access to the DMZ, and makes us immerse in the heart of the personal memory of a soldier. He tells us his experience in a research mission and the amazing discovery he made in the field full of mines (mines laid by South Korea with no record of where they were placed). He speaks of a place where people are forbidden, a place where nature has totally reclaimed its hold.

Hayoun KWON is a multimedia artist and documentary director.   South Korea born in 1981.  She graduated from the Fresnoy – Studio national des Arts contemporains in 2011 and  she lives and works in France and in Korea. The reflection on identity and borders is central to her previous works. She has focused more specifically on the construction of historical and individual memory and their ambivalent relationship to reality and fiction.

A village loosely inspired by a north korean propaganda village ,Kijong-dong. Hayoun KWON reveals a setting and 
invites us into a fiction ,carrying out the journey by proxy. this film testifies to this ghost town in its true state as a mechanism of fiction. the reality of a border confronted with its staging. this village can only be reached within our imagination.

Hayoun Kwon was born in Seoul (South Korea) in 1981. She first studied at the Ecole des Beaux-Arts de Nantes, and then graduated from the Fresnoy – Studio national des Arts contemporains in 2011. Her work revolves mostly around the notions of memory (wether individual or collective), boundaries and limits, questionning the blurred lines between intention and interpretation, construction and fiction, recollection and invention. She examines the ambivalent relationships between reality and fiction.