The village was small, and now it's even smaller; only four houses still standing and a street. There is no one around. Nobody to say 'hi' to, no one to whine about the heat to. The earthquake didn't even spare the sound of breathing.
The story of two souls trying to mend a wound in a torn town.
Rear Window (Switzerland) by Florian Luthi
A short love story between a car, a horse and some fragments of cinema.
Field of Infinity (United Kingdom) by Guli Silberstein
Inspired by both Italian Renaissance paintings and contemporary news broadcasts from Gaza protests at the border with Israel - the work processes human gestures and figures in landscape into a dark and colourful scramble. Following Deleuze and Guattari's concept of 'Plane of immanence', the work aims to open up an array of reflections, including concerns about the political image, image of the political, the politics of the image, and the image of image.
Rhizoma (Belgium) by Santiago Pérez Rodríguez
Hounds and transmission towers. Frequencies of flesh and electric howls. A disturbing atmosphere where the animal, the organic and the industrial blend.
Majnuni (Bosnia and Herzegovina) by Kouros Alaghband
In Persian and Arabic, the title 'Majnuni', translates as a form of longing that makes a lover go insane. In this film, we follow a modern-day Majnun named Adnan, who stalks a broken family through the night of a war-torn Sarajevo, Bosnia. As he stalks further, he snaps into a musical fugue where his identity becomes lost to the lives he is following. Arriving at moments of androgynous punk, a holy sense of smell, & melancholic Sevda folk-song, Adnan is set on a possessed path toward Nela, his haunting old love.
"Dreamlike and haunting, Majnuni periodically reminds me of Holy Motors by Leos Carax... intriguing, provocative, and beautiful as well as puzzling." - Jonathan Rosenbaum