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The Third Part of the Third Measure creates an encounter with the militant minimalism of black avant-garde queer composer, pianist and vocalist Julius Eastman. The film focuses on what The Otolith Group describe as ‘an experience of watching in the key of listening’, invoking political feelings of defiance and the collective practice of movement building that participates in the global struggles against neoreactionary authoritarianism. The Third Part of the Third Measure invites viewers to attend to exemplary ecstatic aesthetics of black radicalism that Eastman himself once described as ‘full of honour, integrity and boundless courage’.

Inhabitants of the territories annexed to the ancient city of Moscow get used to their new condition. It is not too distant of a future, but another large-scale expansion of the city will create and/or ruin some more fates. Will the "Myth-Module," an experimental device made by G.T. Podmyshkin, the professor of urban anthropology and the captain of a pirate spaceship, save him and his crew?

Something strange and unpredictable takes inthe mysteriously vacant rooms of Berlin’s infamous Techno club Berghain. A group of wild animals occupy the monumental spaces of the former power station. We explore the building together with the animals and experience its dimensions from a new, nonhuman perspective. The brutality of the industrial architecture is confronted with the beauty of these shy creatures.

Everyday Maneuver is a video that presents the viewer with an unrealistic scenery. Shot from a drone, it shows a city at daytime, but there isn't a single human being in it. What seems disconnected from everyday life, and as artificial as a landscape created with computer graphics, is in fact a recording that was made during one of the annual "Wanan Air Raid Drills" that have been implemented in Taiwan since 1978.

What happens when two hands touch? How close are they like? And how can proximity be measured, and even more so, in times of a pandemic and distancing? We think we touch things, that we can take other people by the hand, but physics tells us quite another story.

Tourists eating and taking photos. Tourists strolling and taking photos. Tourists bathing on the beach and taking more photos. Barcelona has become an overexploited photocall to the point of paroxysm, and this is what this film shows by turning the camera and pointing towards the visitors. A small gesture that, added to a powerful sound contrast and a caustic sense of humour, exposes without subterfuge a grotesque normality.

Within the video, two screens coexist. On the primary screen, a repetitive action takes place - the photo in the hands is periodically blurred. The focus of the viewer's attention is shifted to the secondary screen, which is more dynamic. The face in front of the camera, resembling clay, tries to take on images from archival photographs and video recordings.

Sacred is what exists in silence and solitude. A very intimate and personal experimental short film about the suffering felt after years of loving another without being reciprocated. Nothing seems more real, one is led to live a life in solitude, from which however it is possible to purify oneself precisely through solitude.

On weekends or holidays, the Zhongli train station in Taiwan is always filled with migrant workers who moved to seek out better economic or living conditions. In 1949, millions of Chinese soldiers and civilians migrated to Taiwan; they are regarded as ‘displaced persons’. Yuan’s father was one of these immigrants, a refugee of the civil war, a stranger away from home. For The Strangers, Yuan uses a high-speed camera and a high-lumen spotlight to shoot from the moving passenger car through the window. As the camera captures the face of each person standing on the platform, these strangers transform into sculptures, frozen in time.

During an audio message sent to his daughter, a father reflects on how the recent discovery of dusty reels and scratchy VHS tapes capturing childhood moments has propelled him on a journey of ancient memories and forgotten dreams . Using a blend of personal, public domain, and freely available footage, the film deconstructs reality and reimagines the past, questioning where memory ends and imagination begins.