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"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).

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" 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.

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. 

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.

Surrounded by landscapes extracted from video games, people in rehabilitation testify. In front of the camera, they talk about their hopes, doubts and difficulties since leaving prison.

Un esprit communique avec une lumière mystérieuse.

Sébastien De Buyl est né le 23 février 1987 à Houston, Texas. À 18 ans, il reçoit un appareil photo et gagne un concours de photographie la même année. Il suit une formation artistique à la UCCA – University College for the Creative Arts Maidstone (Royaume-Uni), où il pratique la peinture. En 2012, il réalise "Lone Wolf", un long-métrage tourné en guérilla (Belgique, France, Espace) librement adapté du roman de Jim Harrison "Un bon jour pour mourir". En 2015, il co-écrit le long-métrage, "The Life List" avec Louise Dubois pour Belga Films. En 2016, il réalise "Tournures", film court sur la thématique de l'inégalité homme-femme. Le film connait une belle vie en festivals. En 2017, il réalise "Ya me voy", long-métrage documentaire, portrait croisé d'un petit village de pêcheurs dans le golfe du Mexique. Le film est projeté au FIFF – Festival international du film francophone de Namure (Belgique) en 2017. Sébastien De Buyl est actuellement en post-production du film "Usures", en pré-production d’un film court de fiction, "Démon", et en développement de d’un film documentaire au Venezuela.

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.

Manuela de Laborde is an artist and filmmaker from Mexico City. Laborde’s practice, by abstracting concepts from their concrete properties, looks to create [virtual] spaces and [regenerate] the image. Inspired by simplicity of expression, economy of detail, location of exhibition, her practice is a meditation on physical presence. To the eye, her work carries aesthetic claims and pleasure; yet in its presentation is performative and in its purpose, conceptual. 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 (Liaison of Independent Filmmakers in Toronto).

These short animation sequences replay jingles of international production companies. Presented as a loop, the work creates a never ending prologue. By accumulation, the abstract logos refer to the history of the industry of cinema. “Midnight movie” evokes the commodification of these films produced and broadcasted in masses, while referring to “Cinéma de minuit”, a French television (1976-2018) program devoted to cinema. By suggesting these trademarks which are familiar to us, “Midnight movie” emphasises that these short sequences already constitute complex narratives. These short films are designed and produced by filmmakers. By shifting the attention to these jingles, "Midnight movie" attempts to question what we no longer see, and yet is an integral part of film production, and questions us on the notion of the author with a nod to the figure of the "orchestra man".

Arthur Debert *1990 in Paris, lives and works in Paris and Berlin. He grew up in Nancy in the Northeast of France. His passion for animation led him to cinema studies before entering Ecole Supérieure d'Art de Lorraine - Epinal. He pursued a Master degree in 2013 in E.S.A.L - Metz and began to work for artists and institutions. In 2014, he lived in Shanghai for one year, part-taking in the postgraduate program Ecole Offshore with E.N.S.A.D - Nancy. The program focuses on the influences of globalisation on the artistic ecosystems and the compatibility of art practices and society. In 2016 he moved to Berlin where he developed projects in the field of video and new media. In his artistic practice, he values ??collective formats and the principles of direct exchange. At the heart of his installations, videos and editions is the question of the transmission and survival of knowledge, which is at the same time subjective, anecdotal and memorable.

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.

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 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 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 valuables 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 markets 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.

Until the beginning of the 20th century in France, the game of hide and seek was called "cligne-musette". In a winter landscape, the film follows five kids and a young man who wanders alone between the desolate buildings of the Valibout neighbourhood, located in the province town of Plaisir. They will not cross paths but seem destined to meet the same fate, that of being abandoned to themselves; to hide and not to be found.

Born in 1988, Tommaso Donati lives and works in Lugano, Switzerland. His work combines a narrative approach with documentary cinema and is structured around the theme of marginality.

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” is based on the personal experience of the georgian actor David Malteze as an immigrant in Greece, and his trajectory from entering the country to taking up acting. The 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)

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.

'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.

Unscripted and magnificently improvised, CHANCE portrays the nocturnal attempt of four young Sudanese men to cross the canal from Belgium to the UK and seek asylum there. Filmed entirely within the trailer of a lorry, and based on the protagonists’ real life experiences, this docu-fiction is a rare, deeply human encounter with four individuals and with a reality that is too often invisible.

Effi Weiss and Amir Borenstein are an artist duo active since 1999 as Effi & Amir. Their projects span across several disciplines and combine video, performance and participatory strategies. Effi & Amir’s work is shown locally and internationally in museums, art centres and festivals. In parallel to their own practice they collaborate with other artists, filmmakers and choreographers as editors, cameramen and effect designers. They teach and conduct workshops with various audiences worldwide. CHANCE is their third full length film.

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.

"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.