FILE 2026

Digital Film Festival and AI Cinema: includes productions that explore new aesthetics, narratives, and processes enabled by digital and artificial intelligence technologies.  This language questions traditional notions of authorship, editing, scriptwriting, and directing, proposing new forms of expanded and computational cinema. Cinema ceases to be merely representational and becomes processual and adaptive. It is an emerging field that articulates aesthetics, technology, and critical reflection on the future of moving images and multiple narratives. The works may also explore machine learning algorithms, generative models, and automation as active agents in the construction of image, sound, and dramaturgy.

Applications are open until February 19, 2026. Access  the application form.

FILE 2026 | GENERAL REGULATIONS

FILE 2026

Animation Festival | Digital Animations and AI Animations: investigate movement as an expressive language, using computational tools and experimental aesthetics.  The works can explore abstract or figurative narratives, often hybridized with data, algorithms, and simulations. Technology expands the formal and temporal possibilities of animation. It is a field that articulates art, cinema, and computer graphics. Movement becomes a means of visual thought.

Applications are open until February 19, 2026. Access  the application form.

FILE 2026 | GENERAL REGULATIONS

moving picture show

The current migration from analogue to digital film projection in cinemas across the globe is slowly rendering the medium of 35mm motion picture film obsolete, along with the technical equipment used to produce and screen such films.

In Moving Picture Show, a scenario of animated drawing and text production is created by reappropriating a process normally used by the film industry to etch subtitles into the emulsion layer of 35mm film using a high-powered precision laser. By etching away the emulsion, only the clear base of the film remains. Projected onto the screen, the lines appear bright and clear.

Changing the working range of the laser and replacing the software interface for such a machine leads to new possibilities: animations and full-frame drawings can be realised on top of film. The film can either consist of existing material, film created purely for this purpose, or black, non-developed film.

During the 23rd International Poster and Graphic Design Festival in Chaumont, the Jesuit chapel was transformed into a workshop, a scenario of conception, production and projection of a series of short films produced in this way.

Several contributing designers have been invited to engage with the production facility and collaborate on the contents of the show, producing films that were projected repeatedly during the festival. Meanwhile the laser machine, also present in the chapel, is slowly producing new films for future screenings.

cinematique
An invitation to journey, daydream and idle away, while rediscovering the childhood fantasies hidden in each one of us. An invitation to shake up the rational principles that guide us today in our modern existence. Afloat a raft voyaging across virtual materials and through landscapes. Lines, points, letters and digital objects projected on plain surfaces weave through poetic surfaces, marrying body and gesture.

Darren Slater (DSM)

FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – INTERATOR
Electronic Language International Festival

BIO

Darren Slater is a musician and amateur visual artist based in the UK. He composes cinematic soundtracks in ambient and techno-house styles with sci-fi inspiration, using attribute-free loops and sound effects. He uses Krea AI Animator to bring AI-generated images to life, creating immersive experiences. He also works as a traditional artist, painting fantasy worlds with brushes and pigments.

Darren Slater (DSM)

FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – INTERATOR
Electronic Language International Festival

Trip Portal – United Kingdom

Portal Trip is a captivating fusion of original music and Darren Slater’s AI-generated animations, transporting viewers on a surreal journey through ever-shifting dimensions. As abstract portals open and dissolve into fluid landscapes, the hypnotic visuals synchronize with Darren’s immersive soundscapes, creating an audiovisual experience that feels like entering another reality. A mesmerizing blend of movement and sound, this video invites viewers to lose themselves in its dreamlike, otherworldly depths.

BIO

Darren Slater is a musician and amateur visual artist based in the UK. He composes cinematic soundtracks in ambient and techno-house styles with sci-fi inspiration, using attribute-free loops and sound effects. He uses Krea AI Animator to bring AI-generated images to life, creating immersive experiences. He also works as a traditional artist, painting fantasy worlds with brushes and pigments.

Pods

Darren Slater (DSM)

FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – INTERATOR
Electronic Language International Festival

Pods – United Kingdom

Pods is an atmospheric fusion of original music and Darren Slater’s mesmerizing AI-generated visuals. This 4K video takes viewers on a surreal journey through an abstract world filled with floating organic forms and fluid transformations. The sci-fi-inspired imagery and immersive soundscape complement each other perfectly, creating an otherworldly audiovisual experience that lingers in the imagination.

BIO

Darren Slater is a musician and amateur visual artist based in the UK. He composes cinematic soundtracks in ambient and techno-house styles with sci-fi inspiration, using attribute-free loops and sound effects. He uses Krea AI Animator to bring AI-generated images to life, creating immersive experiences. He also works as a traditional artist, painting fantasy worlds with brushes and pigments.

Lakes of Skylands

Darren Slater (DSM)

FILE SÃO PAULO 2025: SYNTHETIKA – Arte e Tecnologia
Festival Internacional de Linguagem Eletrônica

Lakes of Skylands – Reino Unido

Lakes of Skylands é uma experiência imersiva de animação e música com inteligência artificial. O vídeo apresenta uma paisagem sonora original no estilo downtempo, cuidadosamente elaborada por Darren para complementar os visuais hipnotizantes gerados por IA. Por meio de movimentos fluidos e paisagens etéreas, a combinação de música e animação convida o público a um refúgio tranquilo e, ao mesmo tempo, de outro mundo.

BIO

Darren Slater é um músico e criador visual amador radicado no Reino Unido. Compõe trilhas cinematográficas nos estilos ambient e techno house com inspiração sci-fi, usando loops e efeitos sonoros livres de atributos. Utiliza o Krea AI Animator para dar vida a imagens geradas por IA, criando experiências imersivas. Também atua como artista tradicional, pintando mundos de fantasia com pincéis e pigmentos.

IN BETWEEN

Anabela Costa

FILE SÃO PAULO 2025: SYNTHETIKA – Arte e Tecnologia
Festival Internacional de Linguagem Eletrônica

IN BETWEEN – França

O espaço entre, aquele que exploramos o tempo todo. O espaço entre é uma ponte.  O poder do espaço entre!

BIO

Anabela Costa é artista visual, com diversas exposições individuais no seu percurso. A partir dos anos 80, passou a se interessar e a se direcionar progressivamente para a imagem digital. Desde 2000, desenvolve pesquisas no campo do cinema experimental, com foco em dois eixos: a imagem em movimento — a estética da representação do movimento — e a formalização de conceitos temáticos e científicos.

sliding stripes

Anabela Costa

FILE SÃO PAULO 2025: SYNTHETIKA – Arte e Tecnologia
Festival Internacional de Linguagem Eletrônica

sliding stripes – França

Deslizando o olhar sobre uma tela lisa e brilhante.

BIO

Anabela Costa é artista visual, com diversas exposições individuais no seu percurso. A partir dos anos 80, passou a se interessar e a se direcionar progressivamente para a imagem digital. Desde 2000, desenvolve pesquisas no campo do cinema experimental, com foco em dois eixos: a imagem em movimento — a estética da representação do movimento — e a formalização de conceitos temáticos e científicos.

A Dreamscape Cartography
Marc Samper

FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology
Electronic Language International Festival

A Dreamscape Cartography – Spain

A Dreamscape Cartography is a 3D digital artwork created from scans and navigated via Blender. The piece reimagines the ancient ritual of dream incubation, fusing inner realms with virtual environments. Using scans of abandoned houses in the Cyprus Security Zone, it creates a space that blends dreamlike and physical dimensions. Narrated by texts by Paul Celan, the work seeks to build a bridge between imaginary and lived experiences, inspiring new connections between space, memory, and existence.

BIO

Marc Samper is a visual artist, experimental filmmaker, and photographer from Barcelona, currently based in Paris. Graduated in Philosophy from the University of Barcelona and with a Master’s in Cinema from Pompeu Fabra University, his work investigates the ontology and phenomenology of images in global media, speculative metaphysics, and the intersection between mysticism and technology.

Epic Alien Landscapes

PintoCreation

FILE SÃO PAULO 2025: SYNTHETIKA – Arte e Tecnologia
Festival Internacional de Linguagem Eletrônica

Epic Alien Landscapes – Italy

Embark on a cinematic voyage across otherworldly landscapes. Created with Mi djourney V6.1, animated through Hailuo AI, and set to an original Suno AI v4 soundtrack, this video brings to life vast alien worlds, futuristic civi lizations, and breathtaking digital vistas.

BIO

Since childhood, Luigi Novellino (aka PintoCreation) dreamed of distant galaxies and cities floating in the sky. Now, thanks to artificial intelligence, these dreams come to life. PintoCreation creates images that tell stories of hidden worlds, born from his passion for science fiction and his desire to share them with everyone.

Newton’s Cradle

Jeff Synthesized

FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – Cine SYN
Electronic Language International Festival

Newton’s Cradle – United States

In a dystopian future where time is stolen and turned into a commodity, Newton’s Cradle follows a woman’s journey to uncover the truth behind a system built on control. The Newton’s cradle, an innocuous object, becomes a powerful symbol of human choices and the hope for restored balance. This cautionary tale urges reflection on what truly matters in the moments we’re given.

BIO

Jeff Synthesized is a visionary filmmaker specializing in artificial intelligence. His innovative approach is reshaping contemporary cinema, blending cutting-edge technology with emotive storytelling. Through works like the Amazon Prime series House of David and the acclaimed short film Newton’s Cradle, he inspires a new era of AI-driven filmmaking.

Fractalicius

Julius Horsthuis

FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – Installations
Electronic Language International Festival

Fractalicius – Netherlands

Exploring the mysterious connection between mathematics and art, Julius Horsthuis delves into the mesmerizing realm of fractal geometry. His animations reveal surreal landscapes generated by mathematical equations, inviting viewers to contemplate infinite worlds born from invisible patterns. These works reflect the harmony between numerical abstraction and visual beauty, transforming logic into poetic expression.

BIO

Julius Horsthuis is a digital artist known for his hypnotic fractal animations that blend abstract complexity with cinematic beauty. With 15 years of experience in the Dutch film and entertainment industry as a visual effects supervisor, he transitioned into fractal animation and became a pioneer of a distinct visual language that has captivated audiences worldwide.

The Forgettable Art Machine

FILE 2024 | Installations

International Electronic Language Festival

The Forgettable Art Machine is an artificial intelligence-driven video installation. When facing the panel, the public has their image captured, starting a cycle of analysis, creation and destruction. From this data, a composite emerges, slowly transforming the visitors’ image into a generative visualization. Once the cycle is complete, the composition is deleted, waiting for a new audience to be captured.

Bio

Matthias Oostrik works at the intersection of digital art, installation art, cinema and architecture. His works establish unpredictable relationships between people and their surroundings. Using digital technology, his installations allow visitors to reshape their environment and their relationships with each other. Oostrik collaborates with renowned professionals and, above all, with his audience, who often become an integral part of his work.

Credits

Co-production: Zester
IA Music: Than van Nispen

HYSTERESIS

FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival
Robert Seidel – HYSTERESIS – Germany

HYSTERESIS intimately weaves a transformative fabric between Robert Seidel’s projections of abstract drawings and queer performer Tsuki’s vigorous choreography. Using machine learning to mediate these delayed re-presentations, the film intentionally corrupts AI strategies to reveal a frenetic, delicate and extravagant visual language that portrays hysteria and hysteresis in this historical moment.

Bio

Robert Seidel is interested in exploring abstract beauty through cinematic techniques and insights from science and technology. His projections, installations and award-winning experimental films have been presented at numerous international festivals, art venues and museums, highlighting his innovative approach to visual art.

Credits

Film: Robert Seidel
Music: Oval
Performer: Tsuki
Graphics: Bureau Now
5.1 Mixing: David Kamp
Support: Miriam Eichner, Carolin Israel, Falk Müller, Paul Seidel
Financing: German Federal Film Board

Stealth Technology of Ancient, Cosmic Pantheons

FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival
Michael Sadowski (aka derealizer) – Stealth Technology of Ancient, Cosmic Pantheons – Austria

An abstract painting in motion, with colors and shapes exploding and transforming to the rhythm of the music. The dynamic element is not trapped in a static image, but can unfold in time and space.

Bio

Using Stable Diffusion, a visual synthesizer, the artist turns fantasies into videos using just a PC, similar to the invention of printing 600 years ago. Exploring the interplay between software algorithms that create visual worlds and the artist’s mind guiding this process is incredibly exciting. Unlike traditional cinema, there is no ‘reality’ or humans involved, making it a satisfying medium for creating visual art.

Credits

Visuals: Michael Sadowski
Music: Stealth Technology of Ancient, Cosmic Pantheons by The Intangible

Distortions of The Past

FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival
Michael Sadowski (aka derealizer) – Distortions of The Past – Austria

Fractal elements that resemble cosmic structures evoke the illusion of traveling through a fractal universe. Rules, in the form of prompts, and chance interact with each other to create a visual fantasy.

Bio

Using Stable Diffusion, a visual synthesizer, the artist turns fantasies into videos using just a PC, similar to the invention of printing 600 years ago. Exploring the interplay between software algorithms that create visual worlds and the artist’s mind guiding this process is incredibly exciting. Unlike traditional cinema, there is no ‘reality’ or humans involved, making it a satisfying medium for creating visual art.

Credits

Visuals: Michael Sadowski
Music: Distortions of the Past by Dreamstate Logic

Magic Drops

FILE 2024 | Interator – Sound Synthetics
International Electronic Language Festival
Michael Sadowski (aka derealizer) – Magic Drops – Austria

Moving abstract structures and grimacing masks, colors that change and pulse to the rhythm of the music create a psychedelic experience that embodies the spirit of Techno.

Bio

Using Stable Diffusion, a visual synthesizer, the artist turns fantasies into videos using just a PC, similar to the invention of printing 600 years ago. Exploring the interplay between software algorithms that create visual worlds and the artist’s mind guiding this process is incredibly exciting. Unlike traditional cinema, there is no ‘reality’ or humans involved, making it a satisfying medium for creating visual art.

Credits

Music: Chris Robert

In Love

FILE 2024 | Interator – Sound Synthetics
International Electronic Language Festival
Michael Sadowski (aka derealizer) – In Love – Austria

Fractal structures move to the sound of progressive house as the virtual camera navigates through this fractal world. To intensify the psychedelic quality, a second layer contrasts with the movement, resulting in a joyful madness of colors.

Bio

Using Stable Diffusion, a visual synthesizer, the artist turns fantasies into videos using just a PC, similar to the invention of printing 600 years ago. Exploring the interplay between software algorithms that create visual worlds and the artist’s mind guiding this process is incredibly exciting. Unlike traditional cinema, there is no ‘reality’ or humans involved, making it a satisfying medium for creating visual art.

Credits

Music: Y do I

Vicious Circle

file festival

Come molti della mia generazione, sono cresciuto succhiando un tubo a raggi catodici e facendo il bagno nelle onde radio. Tutto questo è rappresentato all’interno del mio lavoro, in un collage di movimento, luce e suono. Attualmente con il mio lavoro sto esplorando modi per dissolvere i confini tra cinematografia e scultura. Le mie recenti ricerche su questo tema hanno coinvolto l’uso di computer combinato con elementi meccanici per creare installazioni simili a mandala. Queste installazioni sono il mio mezzo e le uso per creare animazioni effimere. Questa effimera coreografia di movimento è il punto focale del mio lavoro. Credo che questo fascino per le immagini in movimento e la trasformazione degli oggetti derivi dalla mia giovinezza, dove i primi computer domestici degli anni ’80 mi hanno dato uno sguardo nel meraviglioso mondo della matematica applicata. Su questi computer è stato possibile con codici semplici generare fantastici schemi e suoni astratti e quell’incontro ha distrutto per sempre il confine nella mia mente tra astratto e reale. Anche la danza gioca un ruolo significativo nel mio lavoro; Sono stato attratto dalla musica elettronica. L’electro con il suo suono sintetizzato mi ha introdotto alla break-dance e la mia anima è stata catturata dalla bellezza del movimento fisico coreografato.

بيتر غريناواي
彼得·格林纳威
פיטר גרינווי
ピーター·グリーナウェイ
피터 그리너웨이
Питер Гринуэй
The Pillow Book
Beautiful to behold and impossible to forget, THE PILLOW BOOK is auteur Peter Greenaway’s erotically-charged drama about love, death, revenge and the indelible nature of our earliest memories. Each year on her birthday, Nagiko (Vivian Wu) would became her father’s canvas, as he painted the creation myth in elaborate, elegant calligraphy on her body. Years later, she continues the practice with a succession of lovers, including a bisexual translator (Ewan McGregor) who becomes a pawn in an escalating game of vengeance against her beloved father’s exploitative publisher. Told in a series of chapters and featuring innovative cinematography and picture-in-picture techniques, Roger Ebert called THE PILLOW BOOK “a seductive and elegant story [that] stands outside the ordinary.”

cinema full

Кен Рассел
كين راسيل
肯·罗素
켄 러셀
ケン·ラッセル
קן ראסל
Altered States

The character of Dr. Jessup was based on the real life Dr. John Lilly, who invented the isolation tank and experimented with using hallucinogens in combination with it before moving on to research on communicating with dolphins.
Lilly tells the tale of a fellow researcher who took the drug ketamine and believed that he had turned into a “pre-hominid” and was being stalked by a leopard, which was presumably the kernel for the the idea of genetic regression.

cinema full

balenciaga collaboration
A 25 minute video loop with previously unreleased tracks by DJ Hell, made in collaboration with Balenciaga.

Here is a dramatic tension in his work between the real and the imagined in his use of often-appropriated digital objects to create virtual landscapes, which frequently contain elements – animals, machines, fragments of videogames – that are recognisable from our day to day life. This creates a symbiotic relationship between the digital and the real. In a very real way digital space has now become an intangible reality. The worlds built by Robak have a distinctly cinematic sensibility that hyperbolises the shine and dramatic effects of 3D rendered animation. The aesthetic of his work is supremely important, drawing the viewer into a truly alluring, indulgent and strangely gratifying environment. There is a further challenge to the void between high-art and the worlds of 3D animation and gaming, in the intersection between depiction and simulation. This can be partially attributed to the vernacular of advertising Robak is so proficient at utilising.

Moses und Aron
Oper in drei Akten Arnold Schoenberg
.
Jean-Marie Straub
homage
R.I.P
.
Moses und Aron, known in English as Moses and Aaron, is a 1975 film by the French filmmaking duo of Jean-Marie Straub and Danièle Huillet based on the unfinished opera of the same title by c. During its 1975 run at US festivals, it was also known as Aaron and Moses, and was frequently reviewed as such.
It is one of three films based on Schoenberg works Straub and Huillet directed, the other two being Einleitung zu Arnold Schoenbergs Begleitmusik zu einer Lichtspielscene , a short film made directly before Moses und Aron, and, over two decades later, an adaptation of the one-act comic opera Von heute auf morgen. The film retains the unfinished nature of the original opera, with the third act consisting of a single shot with no music as Moses delivers a monologue based on Schoenberg’s notes.The film was shot on location in Italy and Egypt. It utilized the same team of cinematographers as Straub and Huillet’s Chronicle of Anna Magdalena Bach. The soundtrack and cast of the film is the same as the 1974 recording conducted by Michael Gielen (Philips 6700 084).The original German version of the film was dedicated to Holger Meins, a former cinematography student who joined the Red Army Faction in the early 1970s and died on hunger strike in prison. This dedication was censored by German broadcasters for the film’s first transmission in 1975. The English subtitles of Schoenberg’s dense German libretto were prepared by assistant Gregory Woods, who is credited on the DVD.The film was shown at the 1975 Cannes Film Festival, but was not entered into the main competition.

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cinema full

The Imaginarium of Doctor Parnassus
The Imaginarium of Doctor Parnassus is a 2009 fantasy film directed by Terry Gilliam and written by Gilliam and Charles McKeown. The film follows a travelling theatre troupe whose leader, having made a bet with the Devil, takes audience members through a magical mirror to explore their imaginations and present them with a choice between self-fulfilling enlightenment or gratifying ignorance.
cinema full

Three Supermarkets
Three Supermarkets is an infinite loop film with a shopping cart riding across multiple coexisting fictional supermarkets. As the first episode of the Phygital Supermarket Trilogy, this film explores the hybrid compositing of the emerging physical and digital media and techniques. The production process of this film uses industrial-grade six-axis Staubli robot arm as shooting equipment, green screen shooting, volumetric video capture, photogrammetry, Cinema 4D Mograph, Redshift shading & rendering, 2D/3D compositing, and other custom build techniques and workflows. Familiar but neglected objects, such as apples and snack bags, were scanned as either static models or animated model sequences from the physical world to the digital space.

ألكسندر سوكوروف
亚历山大·索科洛夫
Александр Сокуров
Russian Ark

“Alexander Sokurov’s desire to film The Russian Arch in one continuous take required extraordinary technical solutions. Since it is physically impossible to shoot more than twelve minutes of conventional film, we had to shoot on video. However, it was only the relatively recent arrival of 24p high definition compact cameras that offered the visual quality and the ability to make this film for theaters, including transferring the digital image to a 35mm negative.With the help of German specialists a complex portable platform was designed to meet the demands of the scenario which included precise architectural plans, highlighting the distance of 1300 meters covered by the course of the action. It was decided that the only way to move the camera would be to use a steadycam, although we could not be sure until after the final image that such a long steadycam shot would be possible, given the physical performance. extreme demanded from the German cinematographer, Tilman Büttner. After months of rehearsals, the 867 actors and extras, the three “live” orchestras all had to know their position and precise roles “. It’s just amazing.

cinema full

PETER BROOK
Homage
R.I.P
بيتر بروك
彼得·布鲁克
פיטר ברוק
ピーター·ブルック
피터 브룩
Питер Брук
MAHABHARATA
cinema full
un projet pharaonique qui raconte la douloureuse naissance du monde d’après l’un des textes fondateurs de l’Hindouisme, composé de 100 000 stances divisées en 18 chapitres. D’abord monté pour le théâtre, l’oeuvre est ensuite adaptée au cinéma dans une version de 3h, et plus de 5h pour la télévision.

Orlando
Noble Orlando is condemned by Queen Elizabeth I to remain forever young. The curse is fulfilled and Orlando goes through the centuries experiencing lives, partners, feelings and gender changes. The film is based on the classic novel by Virgina Woolf, in which an innocent aristocrat travels for 400 years in English history – first as a man, then as woman
cinema full

Cunningham Clip -Summerspace
CUNNINGHAM is a 3D cinematic experience about the legendary American choreographer, Merce Cunningham, orchestrated through his iconic works and performed by the last generation of his dancers. This poetic film traces Merce’s artistic evolution over three decades of risk and discovery (1944–1972), from his early years as a struggling dancer in postwar New York to his emergence as one of the most visionary and influential choreographers worldwide. 3D technology weaves together Merce’s philosophies and stories, creating a visceral journey through the choreographer’s world.

Less faithful to the original text than Robert Wise’s 1971 film, the current version, whose executive producers include Tony and Ridley Scott, retains the essential elements of the plot: a government satellite on an intergalactic germ-related fact-finding mission crashes into a small town out West, emitting a deadly pathogen that kills everyone nearby save for an unhealthy older man and a baby whose survival is an epidemiological mystery. The military is called in to contain the disaster, and a team of high-status scientific researchers is assembled to determine the capacities of whatever is causing this plague and thus forestall the end of civilization.

cinema full

Life after bob
Ian Cheng’s Life After BOB is an episodic anime series built in the Unity game engine and presented live in real-time. Bridging the artist’s interest in simulation’s capacity to generate emergent surprising phenomena, with cinematic storytelling’s capacity to evoke deep psychological truths, Life After BOB imagines a future world in which our minds are co-inhabited by AI entities. Life After BOB asks: How will life lived with AI transform the archetypal scripts that guide our sense of a meaningful existence?

In the robot skies
In the Robot Skies is the world’s first narrative shot entirely through autonomous drones. In collaboration with the Embedded and Artificially intelligent Vision Lab in Belgium the film has evolved in the context of their experiments with specially developed camera drones each programmed with their own cinematic rules and behaviours. The film explores the drone as a cultural object, not just as a new instrument of visual story telling but also as the catalyst for a new collection of urban sub cultures. In the way the New York subway car of the 80’s gave birth to a youth culture of wild style graffiti and hip hop the age of ubiquitous drones as smart city infrastructure will create a new network of surveillance activists and drone hackers. From the eyes of the drones we see two teenagers each held by police order within the digital confines of their own council estate tower block in London. A network of drones survey the council estates, as a roving flock off cctv cameras and our two characters are kept apart by this autonomous aerial infrastructure.

PIVOT POINT – ICHIHARA
‘Pivot Point – Ichihara’ is an interactive site-specific installation. Standing on a controller pod you navigate over and through a 3D terrain where gravity seems to have disappeared, you gradually become tele-present in a parallel projected space by exploring a mediated version of the venue, it’s direct surroundings and the Ichihara region. A cinematic journey to a fascinating point cloud realm, precise in details but simultaneously abstract and dreamlike.The kidney shaped interface is covered with capacitive sensors and mounted on a pole, touching this interface right, left, up or down aims the virtual camera accordingly. When you release the navigation pole the virtual camera automatically starts spiralling back to the initial starting point your journey and temporary centre of the universe, the Asohbara Art House.

ألكسندر سوكوروف
亚历山大·索科洛夫
Александр Сокуров
FAUST
“Faust” è, a tutti gli effetti, una summa del cinema sokuroviano, ritroviamo le inquadrature magnifiche di “Arca russa”, i colori di “Moloch”, l’immagine lavorata di “Taurus”. Ma, probabilmente, è anche il suo superamento sfruttando il digitale, i diversi formati, un uso ossessivo della luce e dei colori per creare un’opera d’arte estetizzante e unica, straniante, d’impatto. Nonostante il fetore, che lo spettatore realmente percepisce, dei corpi sventrati, gli olezzi emanati da un Mefistofele caustico e fedele servitore – il cosiddetto “povero diavolo” – , Sokurov non concede allo spettatore di immedesimarsi nel Dottor Faust perché, nonostante sia un film dove la scrittura è in primo piano, è piuttosto un’esperienza visiva estrema, fisica e disturbante. Cosa va cercando Faust in giro per la città, nel suo perpetuo rincorrere un sapere che gli è ancora oscuro? Cerca denaro, cibo, corpi, ancorato ad una materialità che non gli consente di conoscere l’Anima, di toccarla con mano. Ha bisogno di vendere l’anima al diavolo firmando col sangue una lettera talmente sgrammaticata da far terminare l’inchiostro per le numerose correzioni che apporta. Non sa che gli aspetta la solitudine eterna e che a nulla vale tumulare il suo diavolo custode.

cinema full (in italiano)

MAHLER

KEN RUSSELL

Russell had long been an admirer of Mahler’s music. He said he based the film on “the rondo form in music where you present the theme and follow it with variations, then return to the theme and so on. My theme was the composer‘s last train journey before he died. During the journey we flash back to incidents in his life, the variations on the theme as it were. They vary from passion to comedy. Like the scherzos from his symphonies some of the scenes are pretty grotesque, too.”
cinema full

Shirley
Visions of reality
FILE FESTIVAL
Shirley is a woman in America in the 1930s, ‘40s, ‘50s, and early ‘60s. A woman who would like to influence the course of history with her professional and socio-political involvement. A woman who does not accept the reality of the Depression years, WWII, the McCarthy era, race conflicts and civil rights campaigns as given but rather as generated and adjustable.
Edward Hopper movie

Ten Thousand Waves
Os trabalhos de Isaac Julien são considerações críticas da globalização e representação. Ele nasceu em 1960 em Londres, onde ainda tem sua base, e se formou em São Petersburgo. Escola de Arte Martins, depois de estudar pintura e cinema. Ele foi reconhecido na década de 1980 por seus documentários poéticos e instalações de vídeo e hoje é um artista e cineasta de renome internacional.

フィリップ·ドゥクフレ
Филипп декуфле
octopus
Philippe Decouflé fundou sua companhia de dança – a DCA (Decouflé Compagnie des Arts) – em 1983. Influenciado pelas histórias em quadrinhos, pelo cinema e o circo, suas criações atraíram atenção imediata por conta da inovação e do humor. Coreógrafo, bailarino, clown e cineasta, Philippe Decouflé nasceu em 1961 em Paris, onde formou-se na Escola Nacional de Circo.

Interstella 5555

Daft Punk’s Interstella 5555: The 5tory of the 5ecret 5tar 5ystem is a 2003 Japanese-French animated science fiction film and the visual realization of Discovery, the second studio album by Daft Punk. Interstella 5555 tells the story of the abduction of an interstellar pop band. The film was produced by Daft Punk, Cédric Hervet and Emmanuel de Buretel with Toei Animation under the supervision of Leiji Matsumoto. The film has no dialogue and uses minimal sound effects.

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Utero Termico
“Thermal Womb, una scultura di figura sospesa a testa in giù che richiama la pratica della crioconservazione. La struttura è infatti una replica del meccanismo utilizzato da aziende come Alcor, che prepara i corpi prima che vengano immersi nell’azoto liquido, figure congelate a tempo indefinito, in attesa che la tecnologia le raggiunga e le faccia rivivere. La componente cinematografica del lavoro rivela un paio di luminosi occhi blu, la cui unica animazione è battere le palpebre, aggiungendo uno strato basato sul tempo alla natura altrimenti statica del pezzo. Stephanie Cristello

Skinned

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Francesca Fini è un’artista interdisciplinare focalizzata su cinema sperimentale, animazione digitale, nuovi media, installazione e performance art. “Skinned” un collage dadaista che gioca sul concetto di identità, con selfie impossibili realizzati dai protagonisti di capolavori storici della ritrattistica e dell’autoritratto. Cosa si nasconde sotto la pelle, scorticato dalle radiazioni tossiche dei telefoni cellulari? Cosa avrebbero fatto Leonardo da Vinci e Andy Warhol con questo dispositivo malvagio?

Arr. pour une scène
La force sonore de la scène de meurtre la plus célèbre du cinéma est étudiée. Deux artistes foley recréent la séquence de douche d’Hitchcock, déconstruisant les associations de signifiants auditifs et le pouvoir synesthésique du son. Jonna Kina contextualise ce phénomène étrange – la qualité trans-sensorielle du son – à la fois dans l’œuvre de Kina, ainsi que dans d’autres œuvres historiques et contemporaines à l’intérieur et à l’extérieur du domaine de l’art. Dans Arr. for a Scene (2017), Kina explore les structures et les formes du son cinématographique – en transformant une image emblématique – la scène de douche horrible dans Psycho d’Alfred Hitchcock (1960) – en fréquences sonores d’objets domestiques originaux et apparemment innocents.

Kinematope
Kinematope is specific twice over. First, for being formulated as a response to the perceptual qualities and inner structure of the place it activates. Second, its kinematic nature is directly connected to the function of the train station itself: transit, transport, motion. Kinematope uses ephemeral and intangible materials, projected light and sound, to set the space in motion. It makes use of elements from the cinema apparatus to generate a spatial film. It is a direct filmic experience that omits the mediation of the camera, transporting the observer into a virtual space-time and maintaining at the same time the real, physical bonds of the body with its environment.

톰슨 & 크레이그 헤드
Belief
Belief is made from information found entirely on the worldwide web. In fifteen minutes, this two-screen installation presents a series of fragmented broadcasts about belief, all sourced from the video sharing community YouTube. A compass floor projection interacts with the montage showing where each clip originated in relation to the geographical location of the artwork. With a little help from Google Earth viewers are placed at the centre point of this cinematic data visualisation.

Arr. for a Scene

“The sonic force of cinema’s most famous murder scene is investigated.Two foley artists recreate Hitchcock’s shower sequence, deconstructing the associations of aural signifiers, and the synesthetic power of sound. Jonna Kina contextualize this uncanny phenomenon — the “trans-sensory” quality of sound – within both Kina’s oeuvre, as well as other historical and contemporary works inside and outside the realm of art. In Arr. for a Scene (2017), Kina explores the structures and forms of cinematic sound – transforming an iconic image — the horrific shower scene in Alfred Hitchcock’s Psycho (1960) – into the sonic frequencies of quirky, seemingly innocent, domestic objects.” Melissa Ragona

Feel My Metaverse
Feel My Metaverse is Keiken’s first venture in creating a cinematic film, using game engines to build a fictional future, wanting to create stories that viewers can collectively believe in. “I normally make CGI animation from Cinema 4D, often taking days and weeks just to produce short sequences or footage. Whereas working with game engines, we could generate landscapes or worlds that we can continually build onto collectively to produce larger scale works”. The film, set in a future when climate crisis has rendered Earth inhabitable, explores the daily lives of three characters and their experiences in the multiple realities – Pome Sector (a corporate wellness world), 068 (a roleplaying VR world), and Base Reality, or what we currently know as earth. The characters navigate the challenging landscape in the world’s unforgiving points system. Keiken’s goals of unlearning norms of the current world is included in one of these realities.

Stasis in Flux
“Stasis in Flux is an experimentation of animation’s potential to mimic the real. I began by building a functional zoetrope within 3D space to test if persistence of vision is replicated accurately. From this experiment I realized 3D animations potential to go beyond the physical limits of the real, allowing me to coordinate movements between both the camera and the zoetrope to replicate much more advanced cinematic techniques. The result is a carefully choreographed animation that represents the ebb and flow of the creative process.” Joe Hambleton

Дэвид Линч
ديفيد لينش
大卫·林奇
デビッドリンチ
데이비드 린치
Dune: The Alternative Edition Redux (Alternate Ending)
En l’année 10191, l’empereur qui règne sur l’univers, connu sous le nom de Shaddam IV, établit une alliance avec les Harkonnen de la planète Geidi Prime pour éliminer de la galaxie la dynastie des Atréides, et plus particulièrement leur chef, le duc Leto, de la planète Caladan. Pour réussir ce projet funeste, l’empereur envoie les Atréides sur la planète Arrakis, appelée également “Dune”, où ils sont attendus par les terribles Harkonnens. Deux survivants échapperont au massacre : Paul Muad’Dib, l’héritier du trône Atréides et sa mère Lady Jessica. Après avoir été attaqués par les vers géants et sauvés des griffes du baron volant Vladimir, ils sont secourus par les mystérieux Fremen. Ces habitants de Dune consomment l’Epice qui assure pouvoir et longévité. Ils vivent dans l’attente de la venue du messie qui doit leur rendre leur liberté, et ils voient en Paul l’homme attendu de la prophétie…

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