Cygnus OB2#12(2024)

Soap Opera of a Frozen Filmmaker(en)

"Soap Opera of a Frozen Filmmaker" project is a series of seven episodes of cinematic diaries. It is the unique point of view of an anonymous artist whose entire essence of existence is to make films, but he is rejected on every front time after time. During the process he ponders his life as an artist, the nature of material society and life in general, in which his owm life eventually become a tragedy.

The Boundaries(zh)

Shenzhen River (the border btw Hong Kong and Shenzhen), and the Second Line of Shenzhen Special Economic Zone (the border between Socialism China and Capitalism China) were compared to the Berlin Wall. The Second Line were constructed June 1982, demolished June 2015. The First Line (Shenzhen River) still flows, running deeper and deeper after 1997. Artist Miaoyuan LONG and Zen LU (the ON/OFF media Group) documented major checkpoints along these two boundaries. It’s a piece to illustrate the Big Escape (Touch Base Policy) from mainland China to Hong Kong during 1950-70’s and the geopolitical history of Shenzhen. The 48min audio-visual live performance version was Official selection of Draft Systems 2017 WRO Media Art Biennale, Poland.

Orka(en)

STEINA: “My background is in music. For me, it is the sound that leads me into the image. Every image has its own sound and in it I attempt to capture something flowing and living. I apply the same principle to art as to playing the violin: with the same attitude of continuous practice, the same concept of composition.

Lux Æterna: The Art of Filmmaking(en)

An experimental shortfilm in line with "Lux Æterna", showcasing the footage from Cecil B. DeMille's "King of the Kings". A voiceover pronunces word "Relax" in a hypnotic tone, which was Lux Æterna's working title. It was shown only once in Paris at L'Étrange Festival, at the opening of "Lux Æterna".

3-D(en)

3-D is a hand-painted experimental short film by Riley Hogan. Acrylic paint, ink and scratching were used to animate on clear Super 8mm film leader.

Reflection(en)

As she keeps watching old home movies isolated in her hotel room, the screen becomes a mirror from which she tries to see herself. Levels of subjectivity, narrative, and reality entwine into a surrealist fever dream of scopophilic cinéma pur. The final layer of meaning is all of us watching the film on the screen-mirror in the theatre.

Intertwined(id)

Ezra (M19) and Awan (F19) are two melancholic teenagers who one day meet by chance in the Library. In their meeting, they both feel they have the same memories and speculations. In the memories and speculations created between the two of them, they are lost in feelings of love in their minds. Those thoughts make them feel the complexity of love that they have never felt before.

Capter le fuyant(fr)

Eternal Presence: Journey into the Mind(en)

The film follows a girl born during the Iranian 1979 revolution, growing up amidst war and global events, leading to her breakdown and subsequent healing through self-care.

Building No. 7(en)

A short by Steven Soderbergh described as “intense sci-fi homage to Godard.”

A Common Sequence(en)

An interconnected look at tradition, colonialism, property, faith, and science, as seen through labor practices that link an endangered salamander, mass-produced apples, and the evolving fields of genomics and machine learning.

The Artist and His Canvas(en)

An experimental film revolving around how an artist perceives a man and a woman.

Próxima Parada(pt)

Experimental documentary that poetically exposes the reality of public transport in the city of Curitiba.

beer cans under my bed(en)

This short, started early on into sobriety, finished about nine months in, is a collage of diaries and notes, collected from within addiction and into recovery.

Notes on Film 01 Else(de)

Some Real Places(en)

A short structural film that questions the reality we live in under capitalism through various images of Paris, Edinburgh, and Disneyland.

Drama in the Futurists' Cabaret No. 13(ru)

Intento de vuelo fallido(xx)

Its production seems like a game: throwing a Super 8 camera, turned on and recording, from what was, at that time, the tallest building in Caracas. The film films the shots of its own accelerated fall, a succession of chromatic shots that cannot be identified either in terms of what is “recorded” in each one (windows, columns, walls, sky or floor) or in its own formal configuration as an image (color, composition, shapes or figures). What is perceived and apprehended is the impotence of vision – of perception – to distinguish this extreme and exhausting mobility, this vertigo of “free fall.”

A Man Walking Backwards and Forwards(en)