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An astronaut is detached from his space station, taken into an infinite drift throughout the universe. Freed from time and space, DRIFTER is confronted with the void. He takes a dive into the unknown, in search of the ultimate freedom.

A woman is chased by the wind of an arriving train. What follows is a visual ride, the camera becomes a protagonist of the film itself. The levels of inner film reality and the film material itself influence each other more and more to the point of physical destruction.

A compilation of non-narrative, mischievous, fictional tableaux vivants featuring two young women on a dreamlike, summer-like quest for self-discovery, written in the glittery language of music videos, fashion shoots, and meandering streams of consciousness, set to a nostalgic mood track that evokes universal, bittersweet sentiments.

A portal, a sorceress, a fictional device to portray existence as a moment encapsulated inside an instantaneous photograph to present fragmented biographical elements —family disintegration, rootlessness, scars, two loyal companions, the promises of a new land—subverting the notion of a home-movie and transform it into a pilgrimage tool of self-discovery, mirroring the fragile nature of memories.

A snappy animated diversion turns simple graphic symbols into colorful arrows of resistance. In the field of the rudimentary predecessor of the Internet, the author uses the tried and tested tactic of détournement in order to overcome the limitations of narrowly defined frameworks and transform the screen into a space of new meanings and the scene of a battle against the banalization of the mind. A battle that may have already been lost, but that does not mean that we can afford to lose the sharpness of the senses and the sharp sense of humor that the author demonstrates by repurposing outdated media technology in order to lucidly mock her and our reconciliation with the given state of affairs.

Indifferent landscapes, refracting light, some lonely bird and the window to the sebum-laden living room made of patterned wallpaper and trivialities. Cut. Tenacious sequences inflate moments to cliff-hangers and shatter their tremulous spectatorship. Thundering leitmotifs – in constant intoxication by German disinterest – with no backrest or lederhosen. Black-red-gold at full mast, the cinema is dead.

Years before she saw a man being swallowed by a wave, inside a swimming pool. With this event, time ceased to be linear, and in a split second her family disappeared, leaving only behind the traces of their presence. Through the window´s reflex she realises her face has changed - the face is longer and the hair; she has memories inside her head, that she doesn´t recognize. In another time, she returns to that place to try to confirm her memory.

A peculiar pigeon navigates the city in search for validation and sheds his unique identity to fit in with different city groups. After losing his prized possession, he discovers the value of his own identity.

Alinur, a student filmmaker, tries to make a film about the apocalypse for his capstone project. The movie itself happens to be about a mercenary named M who inadvertently causes an apocalypse. As he tries to “create” the destruction of this supposed apocalypse through utilizing technical gimmicks that he has enforced onto the production of the film, this supposed effort also creeps in as a force that starts to “destroy” him, piece by piece. The outcome of it tests the sincerity of not only the film itself but also of the performative efforts that Alinur has made as a filmmaker—even this test might not be as sincere as it seems.

Shot on 16mm film, Brume de Temps tells a story of intimacy, nostalgia, and the fragile boundary between loving your perception of a person and love as it truly is. It unfolds as a journey through the quiet moments of a couple at ease with one another, enclosed in the bubble they have created. Their gestures are subtle, and the safe space surrounding them becomes part of their story. Without dialogue or voice-over, the story unfolds through the images, which shapes the emotions that emerge. An original musical arrangement carries the narrative, enhancing and guiding this journey. Time intrudes through clocks, calendars, and digital displays, yet each object remains blank. Can this illusion endure where reality cannot be denied?

Super 8 black and white short film.

A short film by Julie Vanhapiha / key.g3n Created using analog glitch techniques, the film was made with circuit-bent video hardware, including a modified video mixer, the Rusty Joe by Mezkalin, and old, unmodified video mixers to generate video feedback. The visuals were recorded directly off a CRT TV. Multiple versions of these recordings were then layered and combined using different blending modes to achieve the final result.

Nearing the end of his university studies, a soon-to-be graduate reflects on his life up to this point, all through the lens of a Handycam his father used to use.

A teenager reflects on his pre-pandemic life before his first day of online class.