DECOLONISE:SCREENS IN LOOP

A female refugee runs through Paris, with her only belonging -a gold survival blanket. The survival instinct, hope, struggle, and despair.

Beyond the known is an experimental found footage short film. It’s a hybrid form, part of the archives being analog, the other digital. The film plays on the superposition of these two aesthetic registers to evoke a chronological continuity in the fight of the human being against obscurantism and dictatorships, whatever their nature is.

“Us” is a short film of animation which mixes several Stop Motion techniques, proposing a journey through the conflicted human condition. War, loneliness, nature, crossings, fallen dreams are some of the recurring aspects in this animated poem on paper.

Underground hand-developed film, shot on 16 mm camera, represents a deeply personal attitude of film directors to St. Petersburg, their hometown. The city appears as a place of the Unconscious, where obscure pictures of the houses interpenetrate with images of abstract art, in parallel with pictures of destruction of the city represented by the frames of II World War newsreel. The film is made as a trip where the real city walk transforms into the mindflow, depicting the play of memory, phantasms and traumatic history.

Somewhere in Yugoslavia, during the Cold War, on the eve of the nuclear threat, when the children fell asleep, the elders began their games in the “swinging sixties” …

The lowland Maya adapted to their changing environment in different ways, and are thought to have abandoned their cities in response to a devastating drought around 730-900 CE. This project converts real geochemical data and the archaeological site of Itzan into a high fidelity visualisation representing the changing population, vegetation, and climate of the ancient Maya population over 6000 years. The project moves beyond conventional data visualisation to create an affectual experience that enables new ways for spectators to understand complex patterns found in scientific data.

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.

Circus culture is a space of diversity, cooperation and integration. A magical space with real people. “Circus Movements” was shot with circus kids from Ethiopia – Liya and Beza, doing the hula hoop; Habtamnesh, doing the aerial hoop; and Beniyam, only 5 years old, performing acrobatics. Collectively, they are great circus artists performing in the magnificent landscapes of Ethiopia.

Inspired by Donna Haraway’s Staying with the Trouble. El lago de Cuitzeo -Cuitzeo’s lake, (Mexico’s second largest), is in danger of extinction. Urban development, change of land use, fires and negligence are provoking its imminent drought.

Valentina (7) reads The Vision and the Enigma behind a layer of mist. An indigenous family discusses something through the smoke of burning fields. The eagle flies back to the trainer and up between clouds… A moment can be a second or an eternity.

Isthmus tells the story of an indigenous struggle against a new form of extractive colonialism. Between the Pacific Ocean and the Gulf of Mexico lies the Isthmus of Tehuantepec, Mexico’s windiest region. It is largely inhabited by Zapotec and Ikoots people who draw their subsistence from the land and sea, which they view as both sacred and communal. Recently, this narrow strip of land has become a lucrative and dangerous battleground, as foreign investment pours into the region and thousands of wind turbines are constructed.

The film explores the inherent contradictions hidden within the promise of clean energy and economic growth. It interweaves indigenous wisdom and storytelling, while attempting to distance itself from an anthropocentric perspective.

KOYUKUK is the newest part of a long-term collaboration between Weaver and the Alaska Native community of Gitr’ingithchagg, a Deg X’itan village home to 81 people. This film is a meditation on mixed Indigenous identity, spirit worlds, death, language loss (residential school survival), misunderstanding, and animal surrogates. Low-res camera trap footage from Yukon river ecology surveys is combined with interviews of Alaska Native elders, field recordings, and music performed and composed by Weaver, an attempt to find understanding and language after the deaths of fathers and grandfathers alike.

Something is awry with Greece’s COVID-19 tourism ads—is it the virus itself? Or is the invitation to #visitgreece not as open as it seems? With a little help from datamoshing, the ads begin to offer glimpses of new anti-migrant measures and reveal the contradictions of travel.

A man narrates the reflective thoughts of a young woman living in Spain, focusing on the bullfighting culture of the Spaniards

Grieving photographer Carlota Cortés arrives back in Spain after a two-year hiatus, a solo world tour during which she took no photos. On the same day, her agency offers her a photo essay. Her anguish worsens when she discovers the theme: her journey.

Two worlds in gestation, coexist. Contemporary ruins superimposed on ancestral ruins evolve together, marrying the past the present and the future. This film is an invitation to archaeological introspection, in a world in suspension where the man is only a memory.

A reflection of contemporary society through manipulated moving images. A satiric critique of the current social and political changes that are happening in Slovenia, in Europe and in the World aesthetically explored through (de)formation of landscapes and cityscapes. Phony Sights considers social and political issues and even science when searching for an answer to the questions: Where are we? and Where are we going?

Do you think that we need a Dream Zone to escape the world that awaits us in the future?

It deals with the movement of the lips and the traces of those gestures.

Poetic resistance to “Social Preventive and Mandatory Isolation” and to the normalization of the digitization of bodies, presences and relationships in everyday virtual experience. In this dystopia, the digital would be another possible skin, layer and frontier of a virtualized society.

In recent years, the insecurity and thousands of feminicides in Mexico have led women to search for more protection and caution in order to return home safely. Llegué bien is a piece of appropriation that reflects upon the forms of protection to take care of themselves in a violent environment.

A short non-narrative experimental vignette looking abstractly at ideas around isolation, silence, & self care whilst exploring clit clichés & tropes through suggestions of tenderness, titillation & a formalist female gaze.

“After So Long // बरसों बाद” is a visual poetry set in Mumbai (India) and voiced by Simha and their parents to symbolise their connection with each other; a walkabout through time and memories from the point of the view of the artist. Directed by Varsha Panikar, the film takes inspiration from vintage-home-movie culture to create a contemplative and nostalgic vignette of an artist’s spiritual journey out of the darkness and into the light.

In the hands of a young filmmaker, a handycam primarily used for homemade family movies, transforms into a tool for self-reflection. Compilations of personal archives and images from the subconscious prompt us to embark on a journey of reexamining their gender-identity formation in a conservative, post-soviet Republic of Georgia.

A monster is chasing me. A type of cancer that opposes my wishes and multiplies my difficulties. I escape. There is no way out from the disease that expands, rots organs and clouds thoughts. “Third world” is wanting to open my stomach to look for it, pierce it, extract it and, through it, form a different body. A new species, creature of social reality and fiction, hybrid. The desperate search for wanting to continue existing.

In a timeless palace out of sight, a women’s circle realises the strength of the mystical bond that unites them.

This is a film about remembering and also forgetting. It traces the patchy memories of the filmmaker’s catholic boarding school experiences through their dreams, words, emotions and footage. This film is an act of resistance to institutional and church violence and the silence expected of those who live through it.

When a controversial landmark has to make way for development, the local community debates its fate.

SKY SONG at Adelaide Fringe Festival is the world’s first feature-length drone art show. An epic combination of future technology and ancient storytelling that will reawaken in our audience a remembering that we are all bound by universal wisdom.

Three Anangu women of different generations tell the story of how donkeys came to be malpa wiru, valuable friends and helpers, in the families and desert community of Pukatjata (Ernabella) in the APY (​​Aṉangu Pitjantjatjara Yankunytjatjara) lands of northern South Australia. People would set off on donkeys for picnics and longer journeys, always returning home safely. With the arrival of cars, people’s relationship with donkeys changed. But one special donkey found a different way to remain a good friend to people in Pukatja.

Yanyangkari and her clever dog, Kungka, go hunting in the bush. What they catch surprises and delights them, and their companions.

Milaythina Rrukani speaks to the power of language. Lutuwita was colonised and renamed Tasmania in the 1800’s; original names spoken for thousands of years were changed. In Milaythina Rrukani we travel on country with Lutruwita’s First People as they talk about their personal connection to language and place. The film is about the resonance language creates, the power of speaking names on country and the connection it builds between people, land and time.

In his essay film, We are all “Kanaken”, Kervin Saint Pere demonstrates the complex layers of meaning associated with the term “Kanake” that have been violently imposed through European colonialism.

The creation myth is adapted into an animated short film made by Seri indigenous children and elders.

In our world, there are more than 7 billion people, more than 7 thousand languages, and the number of people in general can not be counted. And you, reading these lines – one of them. This series of films is created to show people how similar and at the same time different from each other. This movie is about people and for people. It’s about one of us and for each of us.”One of us” is a series of films where heroes turn directly to the viewer and conduct a dialogue personally with everyone. The viewer can draw his own conclusions, he will have a chance to look at other nations that seem to be different from each other, or on the contrary to see them in himself and understand that everyone on this planet is one of us.

In the cloudy mountains of the Guatemalan highlands, birds announce that planting time is near. Concerned about the revaluation of native seeds and the care of water in a world that threatens these sacred elements, grandfather and grandmother share stories and teachings with their grandson Willy, who begins his journey as a defender of the earth and life.

No community can express the pain of losing an elder, especially when one was presumed to be the last fluent speaker of their language and the language is nearing endangerment. “Now, none of the Mihaqs (Kusunda people) speak the language. The girls have got married and have left for the villages. Boys are getting married in villages”. “We left our language and started speaking others’ languages. It should be taught to others”.

Grandson of India Regina, the only remnant of the “hunting of Indians” in the search of rubber, Osmildo fights for ransom of the Kuntanawa origins, as well as the mother tongue, the differentiated indigenous school, the sacred rituals, of traditional medicine and his demarcated land.