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I began to see the complexity and fluidity of sexuality and gender in my early 20s, as growing up believing in a particular concept of my sexuality and others, I felt stuck to an idea. I wanted to be a boy and aspired that when I’m grown enough to have a job I would begin to save money for a sex change surgery. This film celebrates the transcending and inner self discovery, from there, it simplifies self-acceptance. Reflecting on my upbringing and adolescence memoir, performed by myself presenting with a humour approach.

Bulthaweenan, Praewa ‘Bink’ (Bangkok, August 1995 - present) Attended Manchester School of Arts studied Bachelor in Interactive Arts 2018, previous studies in Media, and Fine Art: Photography at Solihull college. Now based in Manchester, U.K. I work with film, writing, performance, sculptor, and ceramics. I began making short films and moving image since 2013 when I studied Photography. I’m interested in looking at ways of telling stories, ritual movements of bodies and surroundings, and using bodies as an object. My current interests is fantasing about the future that already exists in the present, a world where there are no boundaries of cultural concept.

A video essay on hyperinflation, which happened to the Yugoslav dinar from February 1992 to January 1994. Passing through banknotes design, science and personal memories, we make an irrational journey to one of the worst hyperinflation in human history.

An interdisciplinary artist working on a visual, dialogical, and autoethnographical system addressing movement, exchange, value, inflation, temporality, compatibility, and uncertainty, as nodal categories in the experience of modern society. Participated in over 80 international exhibitions, screenings and residencies, among them are: Cairo Video Festival, 2019; Now&After, Moscow, Russia, 2018; Moving Chronotopes, Remont, Belgrade, 2017; FDTD, National gallery of Macedonia, Skopje, 2016; Videographies, Liege, 2015; KulturKontakt’s artists-in-residence, Vienna, 2012; Atelier Banja Luka, Tranzitdisplay, Prague, 2012; La Biennale du Film Exposé, Paris-Montreuil, 2011; Cynetart, Trans-Media-Akademie Hellerau, Dresden, 2010; Crazycurators Biennale, Bratislava, 2010; Fears, parallel event to Manifesta7, Trento, Italy, 2008.

The road trip of a mother and her daughter through strange worlds. The daughter wants to kill herself and the mother will try to talk her out of it.

Sergio Caballero is the co-director and art director of Sónar, festival of music, creativity & technology. His creativity and artistic restlessness has manifested itself across many creative fields, such as the composition of electronic music, visual arts and conceptual art, cinema and has found its platform across the media in the ever controversial and powerful Sónar advertising campaigns.

An experimental documentary that depicts a May 6, 2018 art activity where the community members of Barangay San Lorenzo, Makati, Sipat Lawin Ensemble, Philippine Air Force Band, Museo Pambata, and Ayala Museum collaborated with visual artist Alwin Reamillo to stage a common Filipino community practice called “bayanihan” in the heart of the Philippines’ financial district. “Bayanihan” is where Filipino community members help one of their neighbors literally move their bamboo house by placing it on bamboo poles and lifting it onto their backs. The participants carried on their backs Reamillo’s art installation bamboo hut from one of the city parks, through the city streets, right up to the museum’s front steps. The activity was called “BAYANIHAN HOPPING SPIRIT HOUSE”.

Jan Philippe “JP” V. Carpio is a writer and filmmaker living in the Philippines. He has written and directed four feature length films: Girl of My Dreams (2000), Balay Dakû (Big House) (2002) Hilo (thread) (2007), INT.-EXT. (Ella, Marita, Atbp.) (2017). He is a National Commission for Culture and the Arts Cinema Grant Recipient for the first full length film in the Ilonggo language Balay Dakû. His films have been screened and cited at national and international film festivals like the Cinemalaya Philippine Independent Film Festival, Filipino International Cine Festival, Experimental Forum International film and Video Art Festival, and Thessaloniki International Film Festival. He is a two time .MOV International Digital Film Festival Silvershorts Competition Finalist. He was selected as a participant for the 2016 Abbas Kiarostami Black Factory Cinema Filmmaking Workshop. He teaches at the Digital Filmmaking program of the College of St. Benilde School of Design and Arts and the Film program of MINT College.

Can we investigate our character, role or self-image by observing everyday phenomena and by looking into and discussing simple esthetic symbols? Can the particular tonality or attribute of a certain nationality be discovered -a sort of national character in sound? Can people’s performances in everyday life be observed in a way that simple actions, which in our memory seem to be real, demonstrate to be the result of misremembering or even completely fictional? On Cycle in 2018 during Sounds of Doubts -Workshop the artists worked with three groups, each one with participants from a different Nordic country: Iceland, Faroe Islands and Greenland. Their behaviour was observed by introducing them to different roles and circumstances, either staged or real. This environment gave them the opportunity to examine how the inception of natural and cultural milieu influence the participants’ experience. During the development of the project, languages and the creative functions of our memory were elaborated with musical and visual means. The video and sound recordings from workshops were used for further analyses and elaborations for the multi-media work: Sounds of Doubts. The interdisciplinary collaboration between the artists constitutes a research project in itself as much as the final piece, where conventional ideas and beliefs about musical composition on the one hand and the aesthetic vision on the other, are reviewed and questioned.

My background lies, besides the field of fine arts in the conservation and restoration of paintings. Engaging with diversified collections and archives since the inception of my career enhanced my will to understand questions of time and space and the human ability to develop differentiated forms of cultures and knowledge. I collaborate with cultural mobility programs both in Europe and Asia, as well as receiving awards and prizes from several institutions: The Nordic Cultural Point, the Icelandic Visual Association alongside the Icelandic Patronage from “Amalie Engilberts Art trust” from The National Gallery of Iceland, and the Reykjavik Art Museum. The award for Postgraduate studies from the Guðmunda Andresdottir Foundation.

What divides us and what keeps us together? Maybe, both questions have the same answer. The body revealing itself to the mind. The mind to the space. The space, a place without walls which its inhabitants can’t get out of. Confinement in a place that seems open. People like the objects of a place. A place as a body they can’t get out of. The body, a group of membranes, the tissue that contains us. The fear that this tissue might not contain us anymore. A giant’s skeleton appears.

He received a grant from the National Fund for Culture and the Arts (FONCA) of Mexico to study at the Sarajevo Film Academy in Bosnia Herzegovina, founded by Hungarian director Béla Tarr. He studied Latin American literature at the Iberoamericana University (UIA, in Spanish). Also, he participated in the Mantarraya film workshop, in Mexico City. He is co-founder of the distribution and production company Salón de Belleza and was selected for the Berlinale Talents-Guadalajara 2019. He is currently studying a master's degree in contemporary art at SOMA, Mexico. He has directed short films, screening in several national and international film festivals in Colombia, Bosnia, Vienna, Argentina, Houston, France, Tijuana, etc. His feature film “Prince of Peace” received the award for best Mexican movie at FICUNAM and had its International premier at FidMarseille where it obtained the special mention of the international competition and special mention of Centre National des Artes Plastiques (CNAP). As well presented in festivals like Viennale, Mar del Plata Film Festival, Márgenes, etc. Also, he works as a contemporary artist and has presented his installations in some independent spaces and in contemporary art museums like Biquini Wax EPS, Queretaro Contemporary Art Museum, Baxter St, NY, Soma, and others.

Une trentaine de personnes qui ne se connaissent pas acceptent de voyager ensemble pendant 5 jours et de tourner dans un film sans scénario préétabli. Chacun tiendra son propre rôle, vêtu de costumes choisi par la réalisatrice. Portraits de familles, blagues, danse, roller, chants se dévoilent aux spectateurs sous le regard d’un cheval tranquille et bienveillant.

Oeuvrant dans les champs du cinéma et de l’art contemporain, Julie Chaffort s’intéresse tout particulièrement à l’immensité et à la vacuité des territoires naturels, à leur aspect désertique et délaissé ; ses films et vidéos sont habités par une certaine lenteur, invitant à l’écoute et à la contemplation, mais jouant aussi sur les registres de l’absurde, de la chute, de la surprise et du décalage. Pour Julie Chaffort, le cinéma est un médium dominant, naturel, qu’elle choisit très tôt de développer, à l’école des beaux-arts de Bordeaux où elle étudie, puis auprès de Roy Andersson qu’elle assiste, et de Werner Herzog dont elle suit le séminaire à sa Rogue Film School. En 2013, elle expose au Centre International d’Art et du Paysage de Vassivière Hot-Dog, moyen-métrage qu’elle y a réalisé la même année en résidence. L’année suivante, elle présente sa première exposition personnelle Jour Blanc au Centre Clark de Montréal, avec des installations vidéos et sonores créées in situ. En résidence à Pollen à Monflanquin 2015, elle réalise le moyen-métrage La barque silencieuse ; ce film, "aussi facétieux qu’émouvant, aussi déroutant que respectueux de tout ce qui s’offre à voir et à entendre" pour Jean- Pierre Rehm, est sélectionné en 2016 en compétition française et premier film au FID Marseille. Il est également projeté à la galerie Thaddaeus Ropac à Paris Pantin lors de l’exposition “Jeune création 66ème édition” et remporte deux prix indépendants, avec deux expositions à la clé, l’une pour la Progress Gallery, Entre chiens et loups, et l’autre pour la galerie du Pavillon à Pantin, Les cowboys (également selectionné au FID en 2017). Julie Chaffort remporte aussi en 2015 le prix Bullukian et crée Somnambules, une exposition personnelle présentée à la fondation. L’artiste a été lauréate du prix "Talents Contemporains" 2015 de la fondation François Schneider pour l’oeuvre Montagnes Noires et obtient la même année, le prix Mezzanine Sud et expose au Musée des Abattoirs de Toulouse. Le film La barque silencieuse entre en 2017 dans la collection du FRAC Aquitaine et la vidéo Nostalgia dans celle du FRAC Occitanie Toulouse. Julie Chaffort vient d’être lauréate du prix Mécènes du Sud Montpellier-Sète. et d’obtenir une bourse à la création du CNAP pour la réalisation de son projet vidéo PRINTEMPS.

A few days before her wedding, a young woman learns that her fiancé is accused of sexual assault. She goes to Haiti to confront the alleged victim.

Miryam Charles studied film production at Concordia University. She is the director of the shorts films Fly, Fly Sadness, Towards the Colonies, A fortress, Drei Atlas and Second Generation. She produced and shot severals shorts films: Danger of death, The forge, Full Love, Bengal Light and the features A jazz fable, and Nouvelles, Nouvelles.

Deciban is chdh's new audiovisual performance where sound and visual shapes emerge from noise. On the screen, a video noise similar to the "snow" of old analog TVs fills the entire space. This hypnotic material, accompanied by its sound alter ego, is animated and set in motion by forces controlled in real time by two performers using laptops. The noise acquires a structure, a topology, patterns. Shapes emerge, visual and sound movements appear. The public loose themselves in the perception of this world full of illusions. In Deciban, phenomena are drowned in a noise universe: noise is information. Inspired by Claude Shannon's information theory, Deciban is a research on the perception of digital generated noise that aims to propose a new type of synaesthetic experience.

The chdh collective studies images / sound relationships by creating audio and visual algorithmic synthesizers. They mainly use these audiovisual instruments during live performances. Using equations describing natural mechanisms, they generate abstract choreographies of particles whose minimalist matter reveals underlying structures of great complexity, shaped by strange organic attractors. In search of a synaesthetic radicality, their hypnotic performances work on the joint movements between image and sound and belong as much to experimental cinema in the form used as to improvised music in the way they are played. Since the early 2000s, they have shown their projects in more than a hundred international venues, especially the Egregore performance (2011), which explores the group movements of a crowd of particles and Morphist (2015), a study of the shape transitions of an abstract substance. This work has also led to two editions: the Vivarium DVD (Art Kill Art / Arcadi - 2008) which contains abstract video works as well as the software developed for these creations, proposing to "replay" or edit them, and the Egregore - source USB key (Art Kill Art - 2014), an adaptation of the software used for Egregore, which has resulted in a remote performance on more than 120 computers in about twenty countries. Defender of free software, they freely distribute their projects and the tools developed for their work, including the pmpd physical modeling library for Pure Data.

Dans ses films, Saddie Choua combine son propre matériel cinématographique avec des images trouvées, des documents d’archives visuels et textuels, provenant de diverses sources, telles que la télévision nationale, des programmes de loisirs, des vidéos musicales et des magazines. Dans sa pratique, Saddie Choua se concentre sur le rôle de l’image en mouvement dans les loisirs et la politique et leur influence sur l’image commune de l’Autre. Dans certains de ses projets, elle introduit du matériel autobiographique pour rechercher le rôle entre elle et cet Autre. Dans ses films et installations, Saddie Choua simule la conception des médias de masse vus du salon, créant ainsi une situation familière pour transmettre de nouvelles images qui suggèrent les complexités de l’Autre. Saddie Choua montre les structures de pouvoir derrière l’industrie de l’image actuelle et les préjugés et malentendus qu’elles provoquent.

Saddie Choua a étudié la sociologie à la VUB de Bruxelles. Elle participe actuellement au projet international de recherche et de discussion intitulé “Décolonisation perverse”, à l’Akademie der Künster der Welt à Cologne. Saddie Choua a été invitée pour les expositions personnelles suivantes (une sélection) : Le Joli Mois de Mai, Ten Weyngaert, Bruxelles, 2017 ; The Chouas - Work in Progress, MU.ZEE, Ostende, 2016 ; Great News. J’ai été élu félin de l’année, WIELS, 2014. Ses œuvres ont également été présentées dans les expositions de groupe, festivals et projections suivants (une sélection) : Festival Concreto, Fortaleza, 2017 ; Montrez-moi vos archives et je vous dirai qui est au pouvoir, KIOSK, Gand, 2017 ; Je crois qu’il y a une confusion chez vous. Vous croyez que moi je veux vous imiter, Kaaistudio’s, Bruxelles, 2017 ; The Chouas - A work in progress Episode #3, Human(art)istic festival, Beursschouwburg, Bruxelles, 2016 ; L’acte de fixer le soleil, Zwart Wild, Gand, 2016 ; Biënnale de Marrakech, Marrakech, 2016 ; Festival d’égalité, Vooruit, Gand, 2015 ; Été de la photographie, BOZAR, Bruxelles, 2014.

ATTRACTOR REPELLER is an audiovisual piece created by AUTOPOL (Pol Villasuso) & C03RA (Mathías Chumino) It explores the tension and duality of the aggregation and disaggregation phenomena; continous – discontinous of visual and sound particles. These dualities are easier to imagine if we think tof the valley – mountain topography. The energy attraction is in the valley and the energy repelling is at the top of the mountains. This piece intepellates the flat and striated fields through noise, rumors, whispers, silence, buzzing and trembling, as a path and audiovisual texture.

C03RA (Mathías Chumino) is a multimedia artist and musician, specialized in image post-processing, editing and visual art. His visual work is the result of continuous experimentation and bold image manipulation rendered through the minimal filter of polished aesthetics, His technical expertise and proficiency using state of the art software and hardware are put to the service of a poetic vision of the world to deliver dark and mysterious visual landscapes, always dwelling on primal and metaphysical concepts. The result is a synesthetic journey through new worlds, an experience that defy and cautivates the viewer. AUTOPOL (Pol Villasuso) is a self-taught musician, sound artist - investigator and Architect. He has been known as AutoPol since 2010, conducting research and presentations in the experimental sound field. AutoPol explores the analogical and digital synthesis in an environment of noise, a-synchrony and poly-morphic sound superposition, designing complex, confusing sound atmospheres and austere and shocking moments. His live performances are always different. Based almost exclusively on improvisation the categories and musical limits of (dis) harmony, (a) rhythm and tempo are often confused and fade into the sound/visual air. When the architecture waits for the event, sound and light appear.

I filmed my grand father Wilhelm since my adolescence. After his death I opened a box revealing his Nazi-past. Did I ever question him on his past? I can’t remember... And what remains of it in our stories today, here, in the centre of Europe ?

Julia Clever studied social psychology and anthropology in Germany before coming to Brussels in 1997. After her master in audiovisual arts at the RITCS she worked as a videographer in theater in Brussels and Flanders, creating stage projections and live video performances on stage. As she has always been fascinated by collective processes, Julia documented processes of socio-artistic groups in addition to her work in the performing arts along the years. Between 2012 and 2014, she did ethnographic research on the role of the German in the Belgian reconstitutions of war and created the multi-screen installation "Devoir de me?moire". Since 2014, Julia Clever is a researcher at the Royal Institute of Theatre, Cinema and Sound in Brussels and a teacher since 2017. This is her first author film since her audiovisual studies.

Even the all-powerful creator of the universe has bad dreams from time to time. In God's Nightmares, A panoply of film clips illustrate God's interior monologue, in which he muses about his recurring nightmare of being an everyman.

Daniel Cockburn is a Canadian filmmaker based in the UK. His shorts have been the subject of an internationally touring retrospective, his feature film script The Engineers received the TIFF Telefilm Canada Pitch This! prize, and his feature You Are Here (2010) played Locarno, Toronto, and Rotterdam, and 40+ other festivals. Called "a major discovery" by the director of the Locarno Film Festival, You Are Here won the Jay Scott Award from the Toronto Film Critics Association and the top prize at the European Media Art Festival, for "trend-setting media art". It has been compared to the work of Charlie Kaufman, Jorge Luis Borges, and Philip K. Dick. He is currently adapting Mark Vonnegut’s memoir The Eden Express into a feature screenplay, and creating a new one-man multi-screen live show which will premiere at the Flatpack Festival in Birmingham in 2020.

Vinson Fraley and Tajee will meet in a hotel room in Manhattan. The two complete strangers will perform action scripts on designated hours. A photographer will be in the room to document their actions, freeze the time, and design an unhindered flying route for future viewers. “The first time I entered the room, it did not feel real, it felt like I was in a dream, like none of it was happening.” Ghost Mountain Ghost Shovel and Aaron Thompson met every Monday for interviews in Brooklyn Public Library or at the café in a supermarket. The interviews were written on a rather tiny notebook. Once, Thompson took out five dollar bills with an identical serial number. He used one of them to pay for frosted donuts as snacks and signed his name on another.

Ghost Mountain Ghost Shovel Art Collective (2009-Now) which led by director Val Lee, creates live works that build constructed ephemeral situations where the audience enters a poetic constellation of action script, installation, sound, hypnotic rhetoric, composite structure, mise-enscène, and space. Their works currently focus on urban violence, political turmoil, body memories of the unusual state, abstruse historical reenactment, and the diversified modes of psychological absorption and participation for public audiences. Through the continuous collaborations of friends from visual arts, performing arts, experimental music, and activism, their interdisciplinary yet site-responsive works form some dialogue and resistance in a dream.

Two strangers, M and A, encounter each other in different sites around Escandón (Mexico City) following action scripts that designate their journey and reflects on the issue of femicide. Between auto-cinema and auto-documentary, Buenos días mujeres is designed beforehand but played out in the absence of the director. Confronted with several scenarios and sets, the main characters in the film interpret the narrative as if on auto-pilot, while the photographers document their actions, freezing the specific time and charting a path for future viewers.

Ghost Mountain Ghost Shovel Art Collective (2009-Now) which led by director Val Lee, creates live works that build constructed ephemeral situations where the audience enters a poetic constellation of action script, installation, sound, hypnotic rhetoric, composite structure, mise-enscène, and space. Their works currently focus on urban violence, political turmoil, body memories of the unusual state, abstruse historical reenactment, and the diversified modes of psychological absorption and participation for public audiences. Through the continuous collaborations of friends from visual arts, performing arts, experimental music, and activism, their interdisciplinary yet site-responsive works form some dialogue and resistance in a dream.

Within a few years, through the practice of bodybuilding, Yukio Mishima, a Japanese writer, metamorphosed from a creator of words into a "creature of words." Charles Gaines, an American writer and journalist, compares the bodybuilder to a sculptor of his own flesh. How does work, sport, cultural and sexual norms define one's body and identity? How do we determine our own image, and through which dilemmas do we go about to achieve this? "Double You Double You" reenacts the stages of a bodybuilding competition. Jennifer Teuwen* is the only athlete to compete and the camera is her only audience. The film stages the Scopic Drive - watching being watched endlessly - and offers a visual and auditory, sensuous and sensorial exploration of Jennifer's body. * Jennifer is a Belgian professional bodybuilder, champion in the category of "Women's Physics," and the most muscular woman according to the IFBB (International Federation of Bodybuilding).

Laure Cottin Stefanelli is a french visual artist and a filmmaker based in Brussels and Paris. Through her films, photographs and installations, she pursues a research around stories focused on characters inhabited by paradoxical tensions – life, death and erotic impulses – those resulting from the separation between mind and body. Her work had been exhibited and screened at venues including États Généraux du Film Documentaire (Lussas, FR) ; KANAL – Centre Pompidou (Brussels, BE) ; Belo Horizonte International Short Film Festival (BR) ; Kasseler Dok Festival (Kassel, DE) ; Moscow Biennal (RU) ; Art Brussels (BE) ; FIDMarseille (FR) among others. Her first medium-length film « No blood in my body » received the short film prize at Écrans Documentaires d’Arceuil (FR). She has completed several residencies including the Hoger Instituut Voor Schone Kunsten, HISK (BE). Laure Cottin Stefanelli studied literature and cinema at the University of Paris III and graduated in Photo-Video from École des Arts Décoratifs de Paris. Since 2018, she teaches at École d’Art de La Cambre in Brussels, Belgium.

"Buried in the Rain" opens a minimalist sound space where the artist own voice unfolds, singing the possibility of memory and questioning our identity.

Daan Couzijn (Haarlem, 1994) is a multidisciplinary artist currently based in Amsterdam. After having studied singing at the Conservatory of Music in Rotterdam, he continued his studies at the Institute of Performative Arts in Maastricht where he graduated with a BA in Performance Art. Concluding his education, Couzijn graduated in June 2019 from a Post-Graduate program (Radical Cut-Up department) at the Sandberg Institute in Amsterdam, where he received the title of MA in Fine Art and Design. Couzijn is a creative all-rounder - musically skilled with a very strong eye for visual aesthetics who focuses on authenticity, existentialism and the way external influences (in particular digital influences such as social media) shape us. Often using the richness of the internet and the possibilities of technology as an inspiration for his works, Couzijn believes that every idea, every creation, is a combined effort of everything we?ve ever witnessed and experienced. Besides working as a professional actor/performance artist, he performs live with his own music under the pseudonym of Cousin. As Cousin, he creates minimalistic, electronic music combined with his own angelic vocals. More recently he also started exhibiting several audio/visual- ánd kinetic installation works, often using video and other digital media as an expressing tool.

Daan Couzijn (Haarlem, 1994) is a multidisciplinary artist currently based in Amsterdam. After having studied singing at the Conservatory of Music in Rotterdam, he continued his studies at the Institute of Performative Arts in Maastricht where he graduated with a BA in Performance Art. Concluding his education, Couzijn graduated in June 2019 from a Post-Graduate program (Radical Cut-Up department) at the Sandberg Institute in Amsterdam, where he received the title of MA in Fine Art and Design. Couzijn is a creative all-rounder - musically skilled with a very strong eye for visual aesthetics who focuses on authenticity, existentialism and the way external influences (in particular digital influences such as social media) shape us. Often using the richness of the internet and the possibilities of technology as an inspiration for his works, Couzijn believes that every idea, every creation, is a combined effort of everything we've ever witnessed and experienced. Besides working as a professional actor/performance artist, he performs live with his own music under the pseudonym of Cousin. As Cousin, he creates minimalistic, electronic music combined with his own angelic vocals. More recently he also started exhibiting several audio/visual- ánd kinetic installation works, often using video and other digital media as an expressing tool.

On 5 May 2004 the Fondazione Nicola Trussardi presents the piece Untitled (2004) by Maurizio Cattelan that is specifically conceived for one of the most significant spots in the Milano’s history: Piazza XXIV Maggio. Less than forty-eight hours after its installation, the bricklayer Franco De Benedetto destroyed the sculpture, which was to have remained up until June 6

Emanuele Dainotti (b. 1987 in Milano, Italy. Lives and works in Antwerpen, Belgium) is an artist and filmmaker. His videos and video installations have been shown and awarded in expositions and festivals such as Museum of the Moving Image (USA); Louvre Museum (France); FIVAC (Cuba); Museu de Arte Moderna do Rio de Janeiro (Brazil); CGAI (Spain); XIV Mostra internazionale del video d’autore Avvistamenti (Italy); VAFT (Finland), Salón Internacional de la Luz (Colombia); Festival Miden (Greece); Fonlad (Portugal), Hudson Valley MOCA (USA). 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 awarded him with the "Now You See Me award" at Louvre Museum in Paris.

"Notes From A Journey" uses images and sound captured whilst on a journey through the British landscape as the material for an exploration of the acts of looking/seeing listening/hearing. More than simply mapping a journey across the country, this film presents a map of the filmmakers' engagement with the images of the landscape. By reducing them to impressions, fragments, fictions and forms, the recorded images/sounds are transformed into “artefacts” which, when presented in the sequence of a film, activate narratives, ideas and sensations in the viewer. Central to the film are scenes shot at the Neolithic mound and stone circle of Avebury, motifs that speak of the long and complex relationship humans have to their environment and how through art and ritual we seek to understand our place in relation to it. Ultimately this film is a journey in itself – a first person encounter with the limits of perception, it exists in a place where both the recording device and the human senses are tested.

Daniel & Clara, two humans one artist on a journey of exploration of dimensions real and imagined, the results of which consist of moving image, photography and performance. In their current work they have been exploring the British landscape as a site for encounters with the mysterious, the eerie, the otherworldly and the unknown. As they say, “we seek to see with one eye open and one eye closed, sight turned simultaneously out towards the world and inward to the depths of the human experience.” In their work, images and sounds of the landscape become activators of narratives where past, present and the imagination intermingle. Their work has been exhibited and screened internationally at galleries and film festivals including Whitechapel Gallery, Kettle’s Yard, Fabrica Gallery, Close-up Cinema, BFI, Alchemy Film & Moving Image Festival, Doclisboa, Microcinema Artist Moving Image, Museu de Arte Moderna Rio de Janeiro, Black Box Farnham, Film Mutations Zagreb. In 2019 they launched Moving Image Artists (MIA), an organisation dedicated to supporting and cultivating contemporary moving image art and experimental film. This includes an online magazine, screenings and the Moving Image Salon, a monthly gathering for artists to meet, share and discuss their work. The Moving Image Salon takes place at Film and Video Umbrella, London. Several of their films are distributed online by Tao Films and Kinoscope. Films by Daniel & Clara are also included in the BFI National Archive.

During 1970’s and 80’s there were many revolutionary uprising happening, near and far, all around the world. In this period, amidst this protest and revolutionary uprising, a poet symbolically expresses his feelings to capture the complexity of human existence. Constant financial pressure in his family life is also evident in his words. At one point, words become distorted and absurd. One evening, the poet, Abani Chakravarty disappears and left many confusions.

we are two Directors 1. Bhaskar Jyoti Das, I am currently based in Assam. I’m an independent film maker and Screenplay writer. Recently two of my scripted feature films got Best film award, one, in Los Angeles Indian Film Festivals 2017, “SONAR BORON PAKHI”, another in MAMI 2016, india,”HANDUK” and National Film Award 2016. Last 10 yrs I worked for 3 UCLA projects under a professor from University of California, LA, USA. 2. Waribam Dorendra, studied basic film making in his native state of Assam in India. He explored film making process for some years with a mini DV camera. He has edited few short and long, video and documentaries of his fellow native filmmakers. He has worked with a new media group called Desire Machine Collective from 2007 till 2010 on a project called "periferry" in Guwahati city. He has made many short and long videos and documentaries since the year 2007. He finds cinema as a tool to reflect upon life as well as playful desire.