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IRABAZLEAK / WINNERS/ GANADORES:
“Crjyklcw”. Pierrick Servais (France) 1º saria / prize / premio
“Noir de fumée”. Blick (France) 2º saria / prize / premio

SELECTED FILMS
AUKERATUTAKO FILMAK
PELICULAS SELECCIONADAS



“Being an angel” 08’02. Luigi Abanto Varese (España)
Francesca Woodman (22), obsesionada por la fotografía se encuentra en una profunda depresión. Ha terminado con Benjamin y toma antidepresivos los cuales no le dejan crear. Francesca tendrá que decidir si continuar con los medicamentos y sin la fotografía o dejarlos y realizar su última obra.
Francesca Woodman (22) is obsessed with photography and suffers from depression. She's just broken with Benjamin and takes antidepresive pills which doesn't allow her to create. Francesca will have to decide if she keeps taking the pills and without photography or to make her last piece of art.



“Linear” 06’13. Amir Admoni (Brasil)

La línea es un punto que salió a caminar.
The line is a dot that went for a walk.



“¿Jugamos al spectrum?” 09’04. Felipe Aguilar Picazo (España)

Ignacio Javier narra sus nostálgicos pensamientos acerca del ZX Spectrum, el ordenador personal pionero en los años 80. Su mayor ilusión es revivir sus experiencias de la niñez con otros nostálgicos como él. Y además, tiene otras aficiones?
Ignacio Javier tells his nostalgic thoughts about the ZX Spectrum, the pioneer personal computer in the 80's. His greatest dream is to revive his experiences from his childhood with another nostalgic ones like him. Besides, he has another hobbies...



“Soy un héroe” 04’15. Juan Alfredo Amil Rodríguez (España)

El ser humano es un héroe. Cada día, se enfrenta con una innumerable gama de villanos. Pero el más peligroso es precisamente aquél que le rodea: La vida.
The Human being is a Hero. Every Single day, he faces a huge spectrum of villains. But the most dangerous is precisely the one that surrounds him: Life.



“Transmuted realities” 01’51. Clara Aparicio Yoldi (España/UK)

Our relationships with our surroundings are mostly built upon images and fragmented messages that we acquire through the media, rather than being built on our direct contact with the reality itself. Cinema, television, Internet, books, newspapers are our environment. They build the messages of the social organism. They establish meaning in life. Brands and adverts ubiquity. “This is it. This is what matters: The experience of a product”?! This abstract painting is made with transmuted logos from some of the world leading brands. Image overload, repetition, bright colours, advertising hypnosis, contradiction, incomplete messages, manipulation... This is our vision of reality and the information that next generations will have about our present.



“Aujourd’hui… 2048” 08’34. Mat Barga (Francia)

Trois personnes se trouvent bloquées dans une salle de transit. Elles sont contraintes de rester là où elles sont suite à un événement de risque majeur.
Three people are trapped in a transit lounge. They are forced to stay where they are subsequently a major risk event.



“Mukti bodh” 07’06. Amit Baweja (India)

Prateek is an insurance agent who does door to door Life Insurance Policy selling. This story is about a day when he usually knocks on a door to sell his policy, but gets engaged in an unusual conversation with someone who makes him understand the way in which he is approaching his life, and bounds him to think if that's right or wrong. This story shows the fight that goes on inside a person's mind, between the life he is living and the life he could have lived.



“Face to face revisited” 06’14. Rafael Beno Garrdo (Suecia/Ecuador)

The video is an altered fragment of the movie Face to face (1976) by the swedish director Ingmar Bergman. In it a psichologist falls into dementia meeting her less known innermost dark side caused by a violent attack on her. In the revisited version the intent is to invert the possition of the viewer, by removing the basic and fundamental content of the original movie. Nor sound nor characters are visible, focusing instead on the backgrounds, scenographies and ambientations, creating a playfull suspence with absence, showing a fragment of a movie. A playful fragment that moves in all directions and sizes. Glimpses of events are shown.



“The factory” 03’30. Luis Bezeta (España)

Un proyecto que hace referencia al video arte y al cine experimental, corrientes que tienen sus orígenes en los años 60. En un único plano secuencia, un giro de 360º, se muestra un espacio dispuesto de forma similar a la Silver Factory de Nueva York, fundada en 1963.
A project that references the video art and experimental film, streams that have their origins in the 60s. Sequence in a single plane, a 360 °, it shows a space disposed similarly to the Silver Factory New York, Founded in 1963, 50 years ago.



“Estancias” 05’00. Saray Blades (Euskadi)

“Estancias” obedece a una estética de la intermitencia, la sombra y el reflejo. No hay presencias incontrovertibles , sino más bien su huella, su eco, su proyección. Cuando esta periferia de la presencia se pone en movimiento, sometiéndose a un ritmo de apariciones y desapariciones ,de lejanías y proximidades, la suma de evanescencias va dejando una especie de poso en la oscuridad. Es el espacio. El espectador adivina el espacio antes que verlo, y esto se logra movilizando únicamente los medios imprescindibles. La pieza está sujeta al paradigma de la belleza que glosaba Tanizaki en su “Elogio de la sombra”. Occidente siempre ha vinculado lo bello a lo luminoso, lo claro ,lo brillante, mientras que la cultura japonesa ha primado las texturas que emiten una fosforescencia opaca en la tiniebla o bajo la tamizada luminosidad de los paneles de papel.



“Noir de fumée” 13’23. Blick (Francia)

Retrato de un detenido que, tras varios años en prisión sale en libertad. Esta película traduce de manera sensible el choque producido entre los años a la sombra y un día de luz. Negro de humo se construye a partir de escombros visuales y palabras huérfanas para explorar el malestar y aspereza
Portrait of a prisoner who, after a long sentence, is released from prison and finds himself free. This film reflects the sensitivity of the shock between the years in the shadows and a day in the light. Black with Smoke is built from scrap visual and neglected words. It listen discomfort and harshn



“RBG” 06’05. Sara Bonaventura (Italia)

Non c'è narrazione ma solo metafora (meta-phora: quadrato cerchio triangolo - mano occhio bocca). L'idea era di un viaggio extratemporale attraverso una stana pupilla al limite tra il naturale e il sintetico, un buco tra materia e spettro (quest'ultimo nella sua duplice accezione).
No narrative, but a metaphor of vision, which conveys a sense of transport (here a transfer between symbols: square circle triangle ? hand eye mouth). The idea was of a journey through a bizarre pupil at the limit between the natural and the synthetic.



“Glass” 14’59. Arjan Brentjes (Holanda)

Glass divides the inside world from the outside world. But, is there always a clear distinction between outside and inside? Glass is almost invisible. And if it is visible, it can work like a mirror. Sometimes everything can become so confused that you no longer know whether you’re inside or out.



“Berlin dark memo” 02’33. Marie Buzin & Gabriel Soucheyre (Francia)

Berlin, mémoire de pages sombres. City of Berlin, memories of dark moments.



“Ismalia” 11’22. Xabier Cereceda-Hoz (Euskadi)

Ismalia decide emprender un viaje sin destino ni retorno en apariencia, trata de olvidarse de todo el clima inestable de su entorno, pero en la huida siempre termina aflorando los sentimientos mas ocultos, incluso en los lugares mas insospechados.
Ismalia decides to embark on a journey without destination or return in appearance, comes to mind of all the unstable climate of their environment, but on the getaway always ends up surfacing feelings more hidden, even in the most unexpected places.



“Desplazamiento” 01’37. Magdalena Cernadas (Argentina)

El hogar, la casa, el techo, el nido, el refugio, se vuelve una estructura endeble, frágil e ilusoria en geografías que se ven afectadas por la violencia provocada por la intolerancia racial o religiosa, la discriminación, la lucha territorial o las situaciones de conflicto armado.
A home, a house, a shelter, a nest, becomes weak, fragile and illusory in geographies that are affected by violence caused by racial or religious intolerance, discrimination, territorial wars or armed conflicts over capital gains. As victims of terror, land seizures and killings, displaced people.



“Factory” 04’27. Dengke Chen (USA)

All animals on this planet are creatures that share existence with human beings and deserve to be free. However, animals have been tormented by the human race for too long. In the animated film “Factory,” I ask the viewer to take the animals' point of view, and show them the relationships between human and human, and between human and nonhuman, but from within a world of other super-intelligent creatures.



“The Dynamic” 01’41. Irene & Isabel Chica Pérez (España)

Un organismo sin límites, capaz de regenerarse. No, no es el ser humano, por supuesto que no. Es más evolucionado. Señoras y señores, con todos ustedes, ¡The Dynamic!
A project that references the video art and experimental film, streams that have their origins in the 60s. An organism without limits, able to regenerate itself. No, not the human being, of course not. It is more evolved. Ladies and gentlemen, with all you, The Dynamic!



“Forbici” 03’22. Maria Di Razza (Italia)

La violenza sulla donna, che trova il suo apice nel femminicidio, non ha una matrice dominante. Non c?è un censo, una cultura, una prossimità, o un?esperienza di violenze che inneschi un rapporto causa/effetto ben identificabile. Il fenomeno è trasversale, colpisce nei luoghi più imprevisti.
The violence on women, which finds its climax in the femicide, hasn't got a dominant background. There is no census, no culture, no proximity or previous experience of violence that triggers off a well identifiable cause/effect relationship. The phenomenon is transversal, it hits in the most unexpec.



“Avec le temps” 5’02. Iván Díaz Barriuso (España)

Con el tiempo todo se va, las caras desaparecen. Aquella a la que antes intuías con un solo vistazo, en quién creías sin saber por qué, hoy ya no es nada. Con el tiempo has dejado de amar. - Homenaje al cantante francés Léo Ferré. Over time everything is gone, the faces disappear. That intuited to above with a single glance, at who you believed without know why, today is nothing. Over time you ceased to love. - Tribute to french singer Léo Ferré.



“Ved’ma” 14’00. Cornelia Eichhorn (Francia)

This is a three-channel installation/ experimental film, telling simultaneously the stories of three women intertwined. They could be the same woman at three different stages of her life, sisters or three generations. The stories are perverted modern-fairy-tale stereotypes of women without a happy-end.



“Interstitial traces” 10’47. Celia Eid (Francia)

“La realidad de nuestras percepciones, las huellas, son todos los intersticios que permiten entrar en el bloque de nuestras intuiciones." (C.Fleurey). Celia Eid (video) y Robert Corbun (compositor) creó esta pieza mientras vivían en diferentes continentes - en Francia y en Japón. “The reality of our perceptions, the traces, are all interstices that allow entering the block of our intuitions.”(C. Fleurey). Celia Eid(video) and Robert Corbun (composer) created this piece while they were living on different continents ? she in France and he in Japan.



“Le livre des morts” 30’37. Alain Escalle (Francia)

Dans le quartier en démolition d'une ville d'un pays de l'Est, Mikhaïl aux prises avec ses démons, entreprend un dernier voyage guidé par les fantômes prisonniers d'un livre. Images voilées du passé et visions meurtries se révèlent peu à peu.
In the rubble of a neighborhood slated for demolition, somewhere in Eastern Europe, Mikhail is grappling with his own personal demons, in the course of an ultimate journey among the ghosts trapped in the pages of a book. Faded images from the past and painful memories gradually come to life.



“Deconstrucción sobre bulería asimétrica” 01’08. Daniel Escario (España)

Un poema visual a través de la reconstrucción del compás por bulerías.
A visual poem through reconstruction of the bulerías' rhythm.



“A la sombra del sueño” 05’47. Finéfidos (España)

Un psicólogo y su paciente se enfrentan en un confuso episodio.



“Berpiztu” 04’04. Beñat Fontaneda (Euskadi)

El amor siempre tiene otra perspectiva.
Love always has another perspective.



“Alicia videolooking” 05’42. Garbi KW (España)

En el transcurso de la obra vemos representada la belleza y la destrucción como almas gemelas y la investigación como medio de obra artística en sí misma. Esto produce en Alicia cierta frustración, al quedar atrapada en un laberinto de pensamientos sin verdades ni respuestas absolutas.
In the course of the play we see represented the beauty and destruction as kindred spirits and research as a means of artwork in itself. This results in Alicia frustration at being trapped in a maze of thoughts without truth or absolute answers. Alicia feels a dream of herself.



“9546 Km.” 03’39. Sergio García Locatelli (España)

Sigo buscando en mi interior si Madrid es mi ciudad. Yo he llegado aquí hace más de 7 años, desde una urbe a 9546 km. De día me siento extranjero aunque pase desapercibido a menos de que hable.
I keep looking into myself if Madrid is my city. I came here more than 7 years ago from a place 9546 km. far away. With the daylight I feel foreigner no matter nobody can tell unless I speak.



“Geofreedom” 02’36. Alfonso García López (España)

Año 2015, la población permanece alienada bajo el control tecnológico de la empresa “GEO”. Un hacker y experto en artes marciales deberá descifrar su código interno. Si lo consigue, borrará su huella digital y será libre.
Year 2015, the population remains alienated under technological control of the company "GEO". A hacker and martial arts expert must decipher its internal code. If successful, erase your digital footprint and be free.



“A rat’s nest” 03’16. Nikita Garets (Ucrania)

“Illusions” is a series of paintings transferred to video format and dedicated to the distorted perception of modern man-triggered reality revealing the new incarnations of the usual (at first glance) objects. Unusual metamorphoses that take place in the animated ("alternative") world show the audience the process of making (but not creation) of a "closed" reality, where the artist's representation of the world stands on the first place, peculiar visual illusions on which the philosophy of cyclical segments is based – a kind of "windows" in an alternative universe.



“Alejandra” 07’52. Alberto Gastesi (Euskadi)

Nacimiento, amor y muerte. Tres hitos en la vida de una misma persona, o quizás de todas las personas. La fuerza de esos tres momentos, tres trozos de vida en bruto. La fuerza de lo puramente diegético. Y al fin la mirada, el espejo donde todo se une. El tiempo es un punto, el instante es eterno.
Birth, love, death. Three milestones in a person’s life, or perhaps in every one’s. The power of three moments, three pieces of life unvarnished. The power of the pure diegesis. And in the end, the mirror where everything comes together. Time is a point, the instant is eternal.



“Nothing more” 04’49. Glitch Kawaii (España)

Pieza de Video Arte original, inspirada en el poema El Cuervo de Edgar Allan Poe.
Original Video Art inspired by the poem The Raven by Edgar Allan Poe.



“Mundum” 05’15. Marcia Beatriz Granero (Brasil)

Al llegar a un lugar inusual, Jaque Jolene revela un sentimiento desconocido, cuando se desprende de algunos objetos personales.



“Aquarium” 14’26. Philippe Grégoire (Canada)

The end of a relationship reveals the emptiness left in a woman's life by the one she loves.



“Pixel joy” 02’09. Florentine Grelier (Francia)

Quand des pixels se font du bien...
When pixels enjoy themselves?



“The rose of Turaida” 06’14. Ryan Grobins (Australia)

Based on a true story set in 17th century Latvia, The Rose of Turaida tells of the tragedy of a beautiful young woman who makes the ultimate sacrifice for love and honour.



“Crystal Castles” 03’49. Ana F. Henry (Euskadi)

Cortometraje de cine experimental basada en el proceso personal que se desarrolló simultáneamente a un proceso propio de aborto espontáneo. Completamente realizada mediante sustancias acuosas en movimiento.
An experimental shortfilm based on the personal process that developed simultaneously to an own process of spontaneous abortion. Completely made by means of watery substances in movement.



“Bajo la almohada” 08’39. Isabel Herguera (Euskadi)
Documental de animación realizado a partir de los dibujos y voces de un grupo de niños residentes en una clínica en la India. La guitarra, los bailes, una excursión al mar, los gatos Sweety y Kitty, y las hermanas que los cuidan, son entre otros algunos de los tesoros y sueños que los niños. Animated documentary which uses the voices and drawings of a group of children who live in a clinic in India. The guitar, the dances, a trip out to sea, the cats Sweety and Kitty, and the sisters who look after them are just some of the treasures and dreams which the children keep hidden under the pillows.



“Birjinianori bizita” 3’29. Mikel Herrera, María Elorza, y Maider Fernández (Euskadi)

Joan den astean bakero bat ezagutu genuen.



“Planet Utero” 09’16. Faiyaz Jafri (USA)

En una galaxia lejana escapar de una niña de un planeta suburbano distópica tiene consecuencias imprevistas. In a far off galaxy a young girl's escape from a dystopian suburban planet has unforeseen consequences.



“Artistas, funcionarios y virtuosos” 04’53. JaiDu (Euskadi)
Video-performance inspirado en uno de los poemas autobiográficos del libro “extractos de la UE” (Jai Du, 2012-13) Hasta ahora hemos vivido en un sistema de necesidades básicas cubiertas, afrontando, de buena gana, el artista que todos llevamos dentro, pero...¿cómo volver de nuevo a trabajos ordinarios? Bélgica es un país donde aún existe el llamado “estatuto de artista” (artista-funcionario), así que básicamente es una ciudad para artistas y funcionarios de la UE. Sin embargo, con la crisis europea el sistema de funcionarios se ve amenazado y el término artista parece estar volviendo a sus orígenes: el genio.



“Explosions bring us closer together” 01’56. Jonathan Johnson (USA)

I am interested in new meanings and formal relationships that come to the surface when sound and image from various sources are re-contextualized. I consider internet, personal, found and archival images as latent records that reveal the comedy, geography and drama of our social lives. Explosions Bring us Closer Together montages found images and sound to create a reflection on the interconnectivity made possible through technology, however dark and absurd.



“We could live here / Happy new year” 18’24. Kelin Kaardal & Genesis Mohanraj (Canadá)

"We could live here / Happy new year" uses humor, fantasy, and performance to show the ongoing process of defining oneself within the threshold of virtual and physical realms. The viewer is presented with an open ended narrative, that is, it is unclear to the audience what is real and what is fiction. Pulling from an infinite amount of sources; although seemingly random; all find themselves within a context, where the two identities, that of the artists, begin to run into one another.



“This too shall pass” 03’42. Natalie Kerman (Irán/España)

Es un cortometraje artístico donde quiero representar la vida como una fantasía paso previo a la verdadera realidad que encontraremos en la muerte. Quiero rodar la vida que conocemos como una ilusión y la muerte que nos lanza a renacer en la realidad.
It is an artistic short movie where I would like to present life as a fantasy the previous step before the true reality that we will find in death. I would like to show the life that we know as an illusion and death as a rebirth into reality.



“Say hi” 04’58. Hydeon Jong Kim (USA)

One winter day, a fisherman shows gratitude to a lighthouse keeper for lighting the sea. In return for the fisherman's goodwill the lighthouse keeper shows appreciation to a cleaner, who makes his way to work safer by melting the ice on the ground.



“Tran’smission” 05’10. Vasanth Kumar (India)

An inventor named Tran is always experimenting with electronics. His efforts are constantly interrupted by the silly antics of a family of birds that live nearby, with disastrous consequences.



“Las causas” 12’06. José Luis L. Lasala (España)

Un andantino de Schubert acoge los versos del poema Las causas de Borges con imágenes de las películas de Tarkovski. Desde esta relación se sugieren otros tipos de lazos y armonías, pero también dolores y desencuentros.
This Schubert's andantino welcomes Borges's poem The Causes with images from Tarkovski's films. From this relationship they suggest other types of bonds and harmonies, but also sorrow and disagreement.



“ Then, now” 09’40. Benjamin & Benedict Lee (Singapur)

This video work appropriates political speeches, documentaries and state-commissioned National Day music videos, juxtaposed with the artist’s own footages to reveal the multi-faceted nature of national identity. Singapore as envisioned in the 1960s was remarkably different from today, brimming with nationalistic pride. However, in the name of economic progress, Singapore has inevitably embraced capitalism and shook off its nationalistic overcoat. In a less than a century, Singapore has transformed itself from a kampong slum into a city-state boasting great wealth. The artist is intrigued at what costs did it take to procure this material wealth and if such material wealth translates to a cohesive national identity.



“The most sensual getaway” 03’27. Teresa Leung (Hong Kong)

I am intrigued by the lack of open space and open space that were not originally designed for use by individuals. I am particularly curious about spaces of non-places—non-relational, non-historical, non-identity related, and built for transit purpose in French anthropologist Marc Augé’s definition. Alone or with others, I venture into non-places and do things that people usually do at home, aiming to negotiate the space and functions of non-places. The person in the video isn’t an actress, but someone willing to try something she finds intriguing and something she never did before.



“Jamón” 08’00. Iria López González (España/UK)

José es un cerdo adolescente de una ciudad española y es el único cerdo de su familia. Un día un vecino nuevo se muda a la puerta de al lado y José empieza a entender quién es él realmente.
José is a teenage pig living in a Spanish town, and he is the only pig in his family. One day a new neighbour moves in next door, and José starts to come to terms with who he really is.



“Us” 05’36. Alex Lora (España)

Chica y chico viven fragmentadamente separados por la misma pregunta.
Girl and Boy live fragmented divided by the same question.



“Default” 02’53. Marcantonio Lunardi (Italia)

Default is a work of art on the disillusionment of a system in crisis. A man is alone with a phone from the Sixties- the years of the economic boom- among the ruins of an abandoned factory.



“Return to Bre/men” 02’00. Kate MacDonald (Canada)

Los océanos abundan en barcos fantasmas. Míticos o abandonados, se desplazan a la deriva motivados por los caprichos del clima, el tiempo y la marea. Se incorpora vídeo de fuente original con escenas de Nosferatu (1922), Ave del paraíso (1932), y Los Pájaros (1963).
The oceans abound with ghost ships. Mythical or derelict, they travel adrift from motive at the vagaries of weather, time, and tide. Incorporating original source video with scenes from Nosferatu (1922), Bird of Paradise (1932), and The Birds (1963), Kate uses collage to tease new and unexpected affinities between previously disconnected objects. In the flotsam, jetsam, and lagan of memory and journey, she navigates what is to be discovered among that which has been lost or deliberately cast aside.



“Plétora” 05’35. Ceres Machado (España)

Un anciano vivirá su último viaje hacia sus recuerdos momentos antes de su muerte.
An old man will live his last trip to his memories moments before his death.



“El viaje de Rama” 06’00. Luis Carlos Madrid Zambrano (España)

En el 2003, fotografías aéreas tomada por la NASA, revelaron que posiblemente el estrecho de Palk pudo haber sido construido por el hombre. El Ramayana cuenta la historia de cómo este puente fue construido: La Princesa Sita fue secuestrada y confinada en Lanka. Rama Fue en su rescate.
In the early 20th century, photographs taken by NASA satellites, show a bridge in the Strait of Palk which joins India with Sri Lanka. The Ramayana tells the story of how this bridge was built. The historie talks us about Ramma, Seeta, Ravana and Hanumann.



“El balcón” 13’53. Andrea Márquez (Argentina)

El balcón es un espacio de indefinición entre lo interior y lo exterior, una zona de contacto, de intercambios. Desde allí alguien mira lo que ocurre afuera. Buenos Aires se muestra silenciosa y lenta. Un texto enunciado desde un tiempo imposible recorre la experiencia íntima de una espera.
The balcony is a space of uncertainty between the inner and the outside, an area of contact, of exchange. From there someone sees what happens outside. Buenos Aires appears silence and slow. Text enunciated from an indefinite time details the intimate experience of a desire that is looking to reveal.



“Doppelgänger” 04’20. Pedro Márquez & David Triviño (España)

Elphomega experimenta la angustia que le crea el encuentro con su propio doble, transmitiendo sus temores y sensaciones.
Elphomega, in his case, experiences distress and paranoia that the doppelganger creates.



“Inversible” 09’59. Elvira Martínez & Emmanuel Pitón (España)

El proyector se pone en marcha y las imágenes desfilan transcribiendo su memoria quimérica, acercandose sinuosamente a los lugares más recónditos de su inconsciencia. - Esta película se ha rodado completamente en película analógica inversible (en super 8 y 16 mm) y ha sido revelada y tratada.
The projector is started and images parade transcribing his memory chimeric sinuously approaching the darkest recesses of your unconscious. - This film was shot entirely on analog film invertible (in super 8 and 16 mm) and has been disclosed and treated staff and handmade.



“Chromatexturias 01” 02’48. Magenta (México)

Video experimental de la serie Chomatexturías. La pieza explora la sensación y la creación de atmósferas a través de la saturación, distorsión, yuxtaposición y montaje sonoro de imágenes. Cada uno de los videos de la serie han sido capturados con un dispositivo móvil en lugares específicos de la escena underground en la ciudad de México. De forma no narrativa se explora la atmósfera hipnótica que se genera en estos lugares a través del juego de luces en combinación con la euforia que produce la música a alto volumen.



“Androginia” 14’34. Daniel Matesanz (España)

Un chico que vive en un mundo totalitario descubre algo que le hace despertar.
A guy who lives in a totalitarian World finds something that wakes him up.



“Dans l’ombre” 07’46. Fabrice Mathieu (Francia)

Un film noir avec des ombres. Une ombre raconte sa vie avec son "Portant", ce double de chair et de sang, qu'elle décide un jour d'éliminer...
A film noir with shadows. A shadow is telling its life story with his "Wearer", a flesh and bone double, who one day it decides to get rid of...



“¿Quiénes somos? ¿De dónde venimos? ¿A dónde vamos?” 05’13. José Medina (España)

¿Quiénes somos?, ¿de dónde venimos?, ¿a dónde vamos? es un cortometraje experimental, inspirado en el cuadro de Gauguin con el mismo nombre. Las tres preguntas básicas del existencialismo en una obra audiovisual basado en el personaje de la hija de Paul Gauguin.
Who we are, where did we come from?, Where are we going? is an experimental short film inspired in the work of Gauguin with the same name. The three basic questions of existentialism in an audiovisual work based on the character of the daughter of Paul Gauguin.



“Jesucristo” 04’15. Bárbara Medina de Francisco (España)
Videoarte combinando las artes de la danza,pintura, arquitectura, arte audiovisual y música.
Videoart mix between arts of dance, pinture, arquitecture,audiovisual art and music.



“Gneisenau” 09’04. Antonio Meliveo (España)

16 de diciembre de 1900. Bajo el reinado del emperador Guillermo II Alemania es la primera - potencia mundial. La fragata de guerra Gneisenau, 470 almas y 14 cañones, navega en aguas de - la bahía de Málaga. Un fuerte temporal de Levante azota la costa de La Malagueta, un humilde barrio de Málaga.
16th December, 1900. Under Emperor Wilhelm II, Germany becomes the first world power. The - three-masted, full-rigged sail war frigate Gneisenau, 14 canyons and 470 souls on board, sails the - waters of the bay at Malaga. A heavy storm coming from the East lashes the coast of La Malagueta.



“Aimer” 04’04. Nuria Menchaca (Mexico)
“Aimer” o “Amar” es el producto de una colaboración entre Hélene Matte, poetisa oral quebequense y Nuria Menchaca, animadora mexicana, que nos presenta distintas maneras de amar.
“Aimer” or “To Love” is the product of a collaboration between Hélène Matte, an oral poet from Quebec, and Nuria Menchaca, a mexican animador, wich presents us different ways to love.



“Piove, il film di Pio” 14’55. Thiago Mendonça (Brasil)

"Piove" no es un retrato del cineasta olvidado Pio Zamuner. Es el establecer de una relación entre dos directores y el explicar de sus reglas. El retrato de una pasión compartida por dos generaciones en un bar de la "Boca de la Basura". Pero, ¿quién dirige a quién?
Piove is not a portrait of the forgotten filmaker Pio Zamuner. It is the establishment of a relationship between two generations of directors. But who directs whom?



“PFAD / Vorgarten / Kollaps / Stille”08’12. Kai Miedendorp (Alemania)

What the world will look like by 2050? What will be the next steps in an ecofriendly future? While politicians are engaged on two fronts in a half-hearted war on climate change and the disappearance of natural resources, we have already entered a period in which we are confronted with the very circumstances that we are still trying to prevent. What will happen after a complete collapse? The central point of the piece is to illustrate the loss of the alliance between nature and man and the resulting climate change.



“Vagina sky” 02’10. Martina Miholic (Croacia/UK)

'Vagina Sky' is an experimental video work which is using elements from my previous project 'Probing'. Same as 'Probing' it addresses gender, sexual identity problems and potential related traumas. Video was made in a slightly humorist way, not because subject is funny, but to emphasize absurdity of it.



“Decisiones” 19’53. Iván Miñambres (Euskadi)

Decidir cosas no es fácil, pero la vida avanza aunque a veces no se preste demasiada atención al proceso. Hasta que una noche un peculiar sueño lo revela con demasiada claridad.
It’s not easy to make decisions, but life never stops even if we sometimes don´t pay much attention to the process. Until one night a peculiar dream revealed it all too clearly.



“Cup of tea” 07’00. Michal Mitro (Chequia)

Dream... ...sound picture...



“Efímera” 18’01. Diego Modino (España)

Alicia sueña con ser bailarina. En el acogedor molino donde vive con su abuela, espera con ilusión la hora para acudir a la gran prueba. Pero allá afuera, el mundo no es todo lo idílico que ella cree...
Alicia dreams of becoming a ballet dancer. In the cozy windmill where she lives with her grandmother, she impatienly waits for the moment to go for the long-awaited audition. But out there the world is not as idyllic as she thinks...



“A recipe for making camera-less computational video. American style” 03’55. Jolene Mok (Hong Kong)

As a video maker, I find it hard to accept that this creative form has become so easy to engage in due to the availability of various hybrid technologies. As a result, I challenged myself to make video without the ¿crutch? of an actual camera. As a video maker, I find it hard to accept that this creative form has become so easy to engage in due to the availability of various hybrid technologies. As a result, I challenged myself to make video without the crutch? of an actual camera.



“Oral stage” 02’24. Lucy Morales (USA)

The mouth is the primary focus of pleasure and gratification.



“LaMosca birth” 02’04. LaMosca CG (España)

Birth of our study, joining forces and willingness to work to achieve goals gradually. Work done by the founding partners of LaMoscaCG.



“Spider and flies” 03’33. Tessa Moult-Milewska (Polonia)

“Spider and Flies” is an animated variation about a poem for children written by the polish author Jan Brzechwa. t tells the story of an old but cunning spider, eager for a meal. The story can also be read as a metaphor of a consumptive nature of developing towns.



“A masterpiece quest” 01’07. Dejan Mraovič (USA)

This is a parody on some contemporary artworks. This is a masterpiece quest.



“Matchgirl” 02’00. Seeta Muller (UK)

Recently completed my master degree at Camberwell college, I began to look at the nature of film and became interested in the forms of the space, silents and the abstract. Which can create a mood, this had also lead to new interest in film and drawing with new projects in 2013 the visual language of drawing and film. My artwork is always on the focus of the minimal and the experience that the viewer has response, my interest in marginal space and spaces that we forget about always intrigue me. It’s the absents that is importance and match girl is about tell a classic tale that is without the linear narrative, but only the visual. I have submitted a folklore tale by H C Andersen the 'match seller' a powerful tale that it’s deeply sad, the lonely girl cold and to her own death. As a child I was told this tale and it’s as always stayed in my mind, I was very keen to express this within the contexts of space and time. With this film is slow and follows the black space/sky, a 2min tale of the girl last moments.



“La mano de la muerte” 05’57. Marc Nadal Manzanares (España)

Antón huye de la Muerte en busca de la razón de su fallecimiento, perdido en la Nada se representan ante él recuerdos confusos que le conducen hacia su relación con Colette y su asesino.
Anton escapes from the Death to search the reason of his death, his dead wife Collette appears before him with pieces of his memories, memories that lead to his murderer.



“Breaking the rules” 05’55. Luis Navarro (España)

El ajuste morfológico entre algunas flores y sus polinizadores es, en muchos casos, espectacular. Esto da lugar a una de las relaciones mutualistas más bonitas de la naturaleza.
Morphological adjustment among flowers and their pollinators is an essential component of life in ecosystems. This leads to one of the most beautiful mutualisms in nature: pollination by animals.



“Silent dance” 07’57. Nuria Onetti (España)

Cortometraje de video-danza, que combina el lenguaje audiovisual con el teatro gestual y la danza contemporánea, dentro de un hilo narrativo, ofreciendo al espectador una experiencia estética que le haga reflexionar sobre su vida y su entorno. ¿Puede el bailarín encontrar la satisfacción de sus movimientos sin la música? ¿Podemos cada uno de nosotros encontrar la satisfacción en nuestras vidas a través de lo más sencillo? Cada día nos dejamos llevar por lo que nos rodea negándonos otra alternativa, pero, quizá está más cerca de lo que pensamos.



“Reality 2.0” 11’06. Victor Orozco Ramírez (Mexico/Alemania)

Era otoño cuando llegue a Alemania. En estas exóticas tierras, creía que podría distanciarme un poco de México, pero estaba equivocado. Los narcotraficantes lograron traerme brutalmente de vuelta. - - Un documental animado acerca de la violencia relacionada con la guerra contra el narcotráfico.
It was autumn when I arrived in Germany. I thought that in this exotic country I could distance myself a little bit from Mexico, but I was wrong. Drug traffickers managed to take me back in a ruthless way. A short animated documentary about the drug-related violence in Mexico.



“El sueño de la razón” 01’59. Fran Ortega (España)

Tras saber la fecha de entrega para su próxima obra, una artista decide encontrar inspiración, no en el mundo del arte, si no en un aparato precursor del cine.



“Introgalactic” 02’10. Lenin Ortega (España)

En un callejón abandonado cae la noche, cajas y muros toman vida para hacer su propio show. In a deserted alley night falls, boxes and walls come alive for his own show.



“Mi ideología. Variaciones sobre un concepto” 03’41. Luis E. Parés (España)

¿Qué ocurre cuando la ideología se convierte en mitología?
What does it happen when ideology turns into mithology?



“¿Cómo empezar una película sobre Javier Aguirre?” 13’13. Antonio Peláez Barceló (España)

El director de cine Javier Aguirre es un caso único en la historia del cine. Al mismo tiempo que trabajaba como director de películas comerciales de gran éxito, hacía películas de vanguardia con actores de primera categoría como Javier Bardem, Fernando Fernán Gómez, Esperanza Roy. Los mismos
Spanish filmmaker Javier Aguirre is a unique case in history. While he directed lots of commercial films, some of them among the biggest success in Spanish movie market, he also made avant-garde films with first rate actors as Javier Bardem, the voice of Borges, etc.



“Autobiographnel” 05’13. Lea Petřiková (Chekia)

The life story of Captain Brierly – the character who appears for a short time in Joseph Conrad's novel Lord Jim – is relived and again narrated in the similar manner as Conrad did, briefly, criptically, vaguely. However this time it is Brierly himself who speaks and gives his own interpretation of his last moments before the jumps under the surface. Burdened with the weight both in his pockets and in his head, he delivers his last speech or he possibly writes the very first essay, somewhere between the ocean and the core of reality. Sea - life – memory – time – authorship – sea shanties – context – narration – tales: these are the elements that the film tries to explore and use to create a loose fictional autobiography of Captain Brierly and at the same time an exact record of the mental map of the author.



“El ritmo en sus venas” 13’05. Juan A. Poveda Paredes (España)

Irene (Eva Ugarte) y Rafa (Gorka Otxoa) tienen una relación aburrida y llena de mentiras destinada al fracaso, pero un accidente inesperado los obliga a convivir y conocerse como nunca antes lo habían hecho.




“Adelshingst” 14’10. Sofia Priftis & Linus Hartin (Suecia)

A young girl, Maria, leaves to the countryside to work as a maid for an aristocratic couple in their mansion. Inspired by her best friends impossible desire to have a child with her girlfriend, Maria hatches a plan to help homosexual couples whilst also taking revenge on the burgeois class.



“Project k9” 05’29. Project K9 (España)

El arma de destrucción masiva “K-9” se ha escapado del laboratorio militar donde fue creado. La supervivencia de la humanidad está en peligro.
The weapon of mass destruction, “K-9”, has escaped the military lab where it was created. The survival of humanity is in peril.



“Huyendo del tiempo perdido” 06’23. Cinthia Rajschmir (Argentina)

Roberto es un calesitero. Todos los días hace funcionar una máquina que al girar define el movimiento de los niños sobre su plataforma, al mismo tiempo que los convoca a volar con su imaginación. Su calesita es parte de la vida de muchas generaciones, de padres y abuelos, que han visto a sus hijos.
Roberto is a calesitero - a merry-go-round owner. Every day he starts a machine that rotates, defining the movement of the children on its platform, but at the same time inviting them to fly with their imagination. The merry-go-round integrates the lives of many generations of parents and grandparents.



“Engaña (desnudo hacia el blanco)” 3’43. Julius Richard (España)

Ejercicio de iluminación platónico-agustinana. - Viaje abstracto y metafórico por lo profundo de la tierra y la imagen.
Exercise in platonic-agustinian enlightment. - Abstract and methaporical trip along the depth of the earth and the image.



“El ruido del mundo” 13’36. Coke Riobóo (España)

Un compositor sufre una extraña enfermedad: puede escuchar todos los ruidos del mundo. A través de su música, intentará encontrar una cura para su desesperación. Cortometraje animado a mano con dibujos en plastilina sobre cristal retroiluminado.
A composer is afflicted by a strange illness: he can hear every noise in the world. Through his music, he will find a way to keep the noise under control. Short film animated frame by frame with plasticine drawings on under-lit glass.



“iPad drawing: A vision of urban utopia” 09’45. Jordan L. Rodgers (UK)

The act of looking during everyday passage through a Metropolis city is an art form. Architecture presents a romantic vision for a humanistic city that is ever changing due to technical enhancements, it's just a matter of how we keep up with these changes.




“La máquina espiritual” 19’09. Ana Rodríguez León (España)
Un viaje hipnótico hacia el interior del ser humano y el profundo misterio que alberga en su interior. Un misterio lleno de belleza y de potencial destructivo. La enfermedad, entendida como posible colisión entre las facetas emotivas, cerebrales y corpóreas del ser humano, revela su poder en tanto que herramienta de introspección y autoconocimiento.



“Las tardes del Ritz” 20’21. Asunción Rodríguez (Argentina)
Las tardes del Ritz reflejan las relaciones, la sociedad a traves de un baile.
The Ritz afternoons reflect the relationships, society through a dance.



“Bluebird” 04’24. Coralie Ruiz & Anthony Stephinson (Francia)

The video was shot on location in Paris. In our work we explore the codes of the travelling fairs and theme parks, and re-appropriate them, likening the artist to the showman. Showmen were the inventors of modern marketing, and attacked all the senses to entice people into their world(s). The text throughout collages the poem 'Bluebird' by Charles Bukowski, with the lyrics to 'Over the Rainbow'. The music is a high-octane 90s rave version by Marusha, reminiscent of the music at theme parks. The viewer is encouraged to sing along.



“Virus” 04’19. Jesús Sanz Bravo (España)

Una sociedad enferma.
A sick society.



“London memory multi+city” 25’21. Margarida Sardinha (Portugal)

London Memory multi city is a 25 minutes optical illusion experimental film relating the Bergsonian idea of memory with that of duality in a contrapunctum of movement, colour, text and sound. Memory thus appears as a mirror of the mind being the reminiscence of time and space reflected.



“To love is to let go?” 05’07. Sausan Saulat (Pakistán/USA)
The video is a self-portrait of sorts that is a confrontational (albeit visual) dialogue I have with my displaced self. It highlights the fears, fixations, escapism and anxieties of the protagonist, essentially representing a tussle with a dual identity of sorts- living between two parallels and altogether incongruous worlds. The West and my home country of Pakistan.



“Crjyklcw” 18’59. Pierrick Servais (Francia)

Maybe that the happiness had too much taken the light and had burned.



“Monk” 04’02. Geoffrey Sexton (USA)

This is an undiscovered place, deep in an ocean, where murkiness hides a phosphorescent world of its own. The motion of wave surfaces manifest over rhythmic marine layers as several miniature, aquatic experiments pulsate and overlay. These uncanny, visual gestures to the music result in forming a living, breathing entity.



“Passings” 05’21. Allysa Sing (Singapur)

The artist was interested in digital decay and the nature of technology. This inspired her to take a time lapse of a miniature garden and explore the processes in decaying digital data. Glitches occur when there is a slip up of technology, and this imperfection is like catching a glimpse if technologyʼs soul. This imperfection is a mark of the ephemeral nature of technology, and the video explores the beauty as a result of fragility.



“Living pictures” 08’10. Tatiana Skorlupkina (Rusia)

La musique originale donne le ton et le rythme à la peinture de l'artiste ainsi prennent vie trois sujets : "l’Oiseau blanc ", "le Poisson", "l’Académie de Musique". - "L’Oiseau blanc "est une réflexion philosophique sur la beauté de la Nature et la vanité humaine. "Le Poissons" - est An original scoresets the mood and rhythm for the films, bringingthe artist's paintings to life, and forming a three-part story. White Bird is a philosophical meditation on eternity, the beauty of nature, and human vanity. Fish is a humoresque which tells of a fisherman’s cherished dreams. Music A.



“Virtuos virtuell” 07’23. Thomas Stellmach & Maja Oschmann (Alemania
)
Abstrakte Tuschezeichnungen entstehen wie aus dem Nichts. Sie ?wachsen? synchron zur Musik im Wechselspiel von Neugier, zögerlicher Begegnung, dynamischer Verfolgungsjagd und Konfrontation, wecken vielfältige Emotionen und entführen in eine spannende poetische Reise musikalischer Bilderwelten.
Abstract ink drawings appear out of nowhere. In synchronism to the music they ?grow?, changing from curiosity, timid encounters, dynamic pursuits and confrontation. This stimulates many different emotions and carries us off on an exciting, poetical journey into a musical world of pictures.



“Breaking” 08’21. Pipo Tafel (España)

BREAKING zeigt die einfühlsame Bagegnung eines Paars als dynamischen Tanzfilm in Kinoformat. An der Ostsee an der ehmaligen dt.-dt. Grenze in Lübeck gedreht, ist dieser Tanz der Kamera mit den Akteuren eine Hommage an die Kraft der Vereinigung.
BREAKING shows the emotional rencounter of a couple as an energetic dance duet shot at the Baltic Sea. Filmed at the at the former East / West German border, it is a cinematic feast of rhythm, movement and sensuality, that praises the power of unification.



“Second wind” 06’24. Sergey Tsyss (Rusia)

Every day he must make a new flower from a tin and plant it into the dry ground. This is the point of his existence, as there is nothing else left in the world but metallic rustle of the apocalypse flowers. Every day he must make a new flower from a tin and plant it into the dry ground. This is the point of his existence, as there is nothing else left in the world but metallic rustle of the apocalypse flowers.



“Return to the world of dance” 07’15. Luis Valdovino (USA)

Return to the World of Dance is an instructional guide for those perplexed by the post-modern condition paying tribute to Fernand Léger’s Ballet Mécanique. It’s the last in a series of videos made for the lovers of dance, the Jane Fonda workout video, and the twister game. This series ask the question, "If it is big, if it is orange and if it is ugly--is it contemporary art?" The World of Dance series provide self-help for those who love dance and are without the means to produce a full-scale "Le Sacre du Printemps."



“Historia monumental de la España contemporánea” 07’46. David Varela Alvarez (España)

Algunos pasos (largos) hacia el presente.
Some long steps to the present.



“Sangre de unicornio” 08’37. Alberto Vázquez (Euskadi)

Dos ositos salen a cazar unicornios, su presa predilecta. Los unicornios tienen una carne suave y una sangre deliciosa con sabor a arándanos que los ositos necesitan para mantenerse bellos.
Two bears go hunting unicorns, their favorite prey. Unicorns have a soft flesh and blood flavored delicious blueberries that bears need to stay beautiful.



“Póstumo” 08’42. Hernán Velit (Perú)

Lo más frustrante de la muerte es cuando se cree que es la solución, pero ésta te demuestra, de la manera más dura, que no puedes huir, y te encierra en una habitación oscura con todo lo que te hizo querer escapar de la vida. Joaquín debe luchar contra sus demonios y darse cuenta que no puede.
The most frustrating thing about death is when you believed that this one is the solution, but it shows you, you can not escape, and locks you in a dark room with everything that made you want to end your life. Joaquin have to fitgh against his demons and against the only thing he hate, the painting.



“Lunaticus” 02’20. Marissa Viani Serrano (Francia)

Lunaticus explores the concept of the divine disease with the technical and formal resources of digital video and experimental film. In the Middle Ages, the divine disease was known as a form of neurological or psychiatric disorder and took its name from certain symptoms that the patients suffered in a state of crisis. These symptoms were associated with involuntary body movement, heightened sensitivity and clarity of thought. Together they caused a state of altered reality in the patient that led him into a mystical or divine experience. Lunaticus focuses on recreating this type of sacred approach with a stylized montage of original and processed images and sounds.



“Sisters” 07’48. Lea Vidakovic (Bélgica)

An animate dtriptych which evokes the atmosphere of old Dutch paintings, where sisters are trapped in melancholy, facing the loss and emptiness over the missing one.



“Peones” 11’23. Benjamín Villaverde Terrón (España)

Dos hombres juegan al ajedrez.
Two men play chess.



“Marchant grenu” 02’21. François Vogel (Francia)

Illustration fantaisiste du poème « Marchant grenu » de Henri Michaux. Tout en récitant le poème, François Vogel "marche grenu" sur les escaliers de Montmartre.
A whimsical illustration of the poem "Walking Grainy" by Henri Michaux. While reciting the poem, Francois Vogel "walks grainy" on the stairs of Montmartre, in Paris.



“In Peru” 03’04. Vvitalny (Polonia/Argentina)

"And if you don't look like them, then swim with us in Lake Titicaca in Peru."



“Scuba diving” 01’37. Leslie Weber (Francia)

"Water makes up as much as 95 percent of some plant species. What would it be like to scuba dive in a lettuce leaf? Here is a suggestion, involving clusters of microscopic scuba divers."




“Blow bolt” 03’33. Mirit Weinstock (Israel)

"BLOW BOLT" is a video and sound installation. A looped recording is commentary from a 200m race featuring Usain Bolt - in which he is crowned the world's fastest man. The narration is gradually speeding up until it becomes unclear and stressful. It's only after recovering from the disorientating rush of sound that one becomes aware of the two screens that shows a woman blowing, furiously, energetically, at a huge mound of coal. This gesture is met with the narration and gives it yet another dimension. It reveals the hysteric running in circles and at the same time emphasizes the intensity and strength.



“Shnbt” 03’33. Ezra Wube (Etiopía/USA)

The earliest record of an Ethiopian community establishment in New York City was October 25, 1959. It was marked by the purchase of a building at 726 Gates Avenue, to serve as a church. I went to visit the building only to find that it no longer exists and has been replaced by a housing project. In this piece I depict the events that occurred on the day of my journey from memory using drawn animation. I went back to the same locations several times and videotaped the places in an effort to imagine, retell, find, and parallel the experience.



“Moab” 02’56. Keren Zaltz (Israel)

The video includes footages from authentic shots of bombing, from popular American movies and from propaganda movies that was created by the American government during the "cold war". The footages were edited in a technique that reminds the Photomontage that was used in photography in the end of the 19th century and in the Film-making between the two world-wars. The Photomontage brings up questions of reality and fiction and deals with the zone of ethics and aesthetics. The sound of the video was taken from Schubert's symphony:" Death and the Maiden", but it was edited and only the parts with the maiden "voice" are being heard.



“Branka” 26’48. Mikel Zatarain (Euskadi)

La resolución de conflictos políticos violentos da lugar a una serie de discusiones acerca de la reconstrucción del pasado que son a veces tan intensas como el conflicto mismo, lucha simbólica de interpretaciones. Todos se preparan para no pasar a la historia demasiado mal. La historia debe escribirse desde diversas memorias paralelas que discuten y asegurar que no pueda haber excluídos. Cuando el debate está ahí la violencia pertenece ya al pasado.