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BIDEODROMO 2017 FINALISTA ETA IRABAZLEAK BIDEODROMO FINALISTS AND WINNERS 2017
FINALISTAS Y GANADORES BIDEODROMO 2017
download: Selected artists / Artistas seleccionados / Aukeratutako artistak
download: PROGRAMAZIOA / PROGRAM / PROGRAMA 2017
download: Poster 2017
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HIGHLIGHTS / Ekitaldi nabariak / Eventos destacados:
Kristina Cranfeld-ekiko zinema esperimentaleko mintegia. (2016 Bideodromo-a 2. saria).
Workshop de cine experimental con Kristina Cranfeld.(2º premio Bideodromo 2016).
Martes 26 a Jueves 28 de 10 a 14 h en BilbaoArte.
BilbaoArte-etako 10 eta 14 ordu bitarteko 28, ostegunetarako 26, asteartea.
Inscripción obligatoria en mexmfest@yahoo.es
Enviar CV y tlf. de contacto. Plazas limitadas.
Mexmfest@yahoo.es-etarako nahitaezko izen-ematea.
CV eta tlf-a bidaltzea. kontaktuko. Mugatutako plazak.
Inaugurazio-Cocktail / Cocktail inaugural
2017/09/12 Asteartea Martes 18 h - 20.45 h
BilbaoArte. Urazurrutia, 32. Bilbao.
Espainiako zinema esperimentala eta Beatriz Sánchez-en bideoklipak proiekzioa:
Atom Rhumba, Sonic Trash, Cabezafuego
Cine experimental español y proyección de videoclips de Beatriz Sánchez:
Atom Rhumba, Sonic Trash, Cabezafuego
Cocktail euskal zinema esperimentala.
Cocktail Cine Vasco Experimental.
2017/09/13 Asteazkena Miércoles 19 h - 20.45 h
BilbaoArte. Urazurrutia, 32. Bilbao.
Zinema mexikar esperimentalaren jardunaldia
Jornada del cine mexicano experimental
2017/09/20 Asteazkena Miércoles 19 h - 20.45 h BilbaoArte:
Proyecciones / Proiekzioak
21.15 h La Cumbancha. (San Francisco, 9. Bilbao):
Off Bideodromo, tequila y experimentación / Bideodromo Off, tekila eta esperimentazioa
Proyección especial / Proiekzio berezia. Cocktail
2017/09/26 Asteartea Martes 19.30 h
BilbaoArte. Urazurrutia, 32. Bilbao.
Retrospectiva de Kristina Cranfeld / Kristina Cranfeld-en atzera begirakoa.
Gala del cine francés experimental / Frantziako zinema esperimentalaren festa. Cocktail
2017/09/27 Asteazkena Miércoles 19 h
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Proyección especial / Proiekzio berezia. Cocktail
2017/09/28 Ostegunea Jueves 17.30 h
BilbaoArte. Urazurrutia, 32. Bilbao.
Cookie Moon-en atzera begirakoa (Sara Laimon, 1994 Jerusalem-a. 2016 Bideodromo-etako irabazlea) Errealizadorearen presentziarekin.
Retrospectiva de Cookie Moon (Sara Laimon, Jerusalem 1994. Ganadora de Bideodromo 2016) Con presencia de la realizadora.
Finalistas / Finlistak Bideodromo 2017. Cocktail
2017/09/28 Ostegunea Jueves 19 h
BilbaoArte. Urazurrutia, 32. Bilbao.
PROGRAM
DATEN ARABERA PROGRAMAZIOA
PROGRAMACIÓN POR FECHAS
2017/09/12 18:00 h. dohainik gratis. BilbaoArte. Urazurrutia, 32. Bilbao.
Cine español experimental.
1 “Fidelity” 05’53. Ausín Sáinz (España)
Durero fue el primer artista que introdujo el autorretrato como un elemento definitorio de su arte, utilizando la técnica más moderna de su momento. Hoy en día los autorretratos se han popularizado gracias a las imágenes digitales. En este vídeo me autorretrato emulando un autorretrato de juventud de Durero en donde aparece como novio con la flor de cardo entre sus dedos, símbolo alemán de fidelidad. Surgió a raíz del comunicado que le hizo llegar su padre cuando él se encontraba formándose fuera de Alemania, en el que confirmaba su compromiso con una joven rica. Esa fidelidad duro poco tiempo, ya que rápido surgieron las primeras desavenencias conyugares. Este hecho lo comparo con la fidelidad a la que nos sometemos hoy en día. Nuestra lucha diaria por conseguir una estabilidad a costa de lo que sea, dentro de un mundo globalizado
2 “Catch the move” 04’47. Ignacio Meneu Oset (España) 
El cortometraje “Catch the Move” es una pieza de arte colectivo, creado por diecisiete artistas. Está formado por veinticuatro piezas individuales animadas unidas por el movimiento y por la música, que ha sido compuesta especialmente para esta obra. La banda sonora original es el aglutinante necesario que conducirá al espectador a través de imágenes hipnóticas. La compenetración entre los dibujos y la música da sentido y forma a toda la pieza.
3 “The lovely way to the restaurant” 14’58. Joan Fábregas Beltrán (España) 
Un emigrante en Londres quiere huir de su vida rutinaria
4 “New Madrid” 10’06. Natalia Marín (España) 
New Madrid es un ensayo libre sobre las ciudades copia y la fallida utotopía resultante de un viaje a través de ocho ciudades llamadas Madrid en los Estados Unidos.
5 “Memory of the Land” 12’50. Samira Badran (Palestina/España) 
Una figura tiene que pasar por un puesto de control en Palestina. Tiene que superar una serie de obstáculos que afectarán drásticamente su movilidad. La conciencia del pasado y el anhelo de un futuro coexisten simultáneamente en su vida cotidiana. "Memoria de la Tierra" es una reflexión sobre la condición humana bajo el yugo de la violencia.
6 “L’home llop” 21’06. Lluis Sellarés (España)
Nico es la mitad de la pareja que se queda en casa mientras Mar está trabajando, mirando por la ventana la inmensidad del bosque y buscando nuevas maneras de posponer decisiones.
7 “Identity parade” 04’18. Gerard Freixes Ribera (España)
Drew se ha escapado y está acechando a Melinda, pero ¿quién se esconde detrás de la máscara? Película hecha remezclando y manipulando secuencias de archivo.
8 “Studio” 06’13. Luis Bezeta (España)
El individuo representa una cosa sustancial cualitativamente indeterminada.
9 “Orgánico” 04’26. Santiago Parres (España)
Proyección de video clips de Beatriz Sánchez.
“Totem”, Sonic Trash
“Automatically updated”, Atom Rhumba
“Caramelos 6 de julio”, Cabezafuego
2017/09/13 17:30 h. dohainik gratis. BilbaoArte. Urazurrutia, 32. Bilbao.
10 “Uneasiness” 09’31. Viacheslav Pareniuk (Ucrania)
"Uneasiness" is a feeling of strain and pressure, can be external and related to the environment, but may also be created by internal perceptions that cause an individual to experience anxiety or other negative emotions surrounding a situation, such as stress, discomfort, which they then deem uneasiness.
11 “Bubbles + women” 02’14. Tidal Grace (Canadá)
A video collapse of traditional animation into process strokes. Two erotic, nightmarish images emerge as details develop the figures' stories. The child-like nature of bubbles titillate, confuse, creep. The question becomes: "Are we ultimately damaged sex machines?" "Is our purpose forcibly sexual?"
12 “A cuppa with ancestors” 01’04. Fenia Kotsopoulou (Grecia/UK) 
“Come in, take a seat, the kettle’s on : I think we should have a quiet word. But be careful what you say about my choices ‘cause it takes less than a minute for an agitated, unset¬tled cup to overflow... And then you will accuse me again of being libertine, rebellious, angry, simpering and unnatural”. 1 minute video dedicated to the deviant women during Italian Fascism, who didn’t “fulfill” the roles of mother- housewife- fieldworker as imposed by the oppressive patriarchal society and therefore interned in Sant’Antonio Abate mental hospital.
13 “Tornadoes for Christmas” 02’32. Andrew Weis (USA)
This is an experimental audiovisual piece that I created in it's entirety on Christmas day of 2016. The title comes from the weather forecast calling for possible tornadoes that morning, something extremely unusual in winter.
14 “Coiffeur” 02’49. Nicolás M. Pintos (Argentina)
Reflexión sobre la profesión de peluquero y los pasos que sigue para hacer el corte de pelo ideal.
15 “Gif me” 03’20. Natalia Wilk (Alemania)
Who tolds them what to do, where to look, how to behave? Does the commander know the reason of the indications? insane and looped protest movements that doesn't express any idea against the notion of letting go and freedom. A video that question a dance and possibility of creating a choreography with postproduction without previous movement’s intensions.
16 “BBQueens / An inverse archeological BBQ” 10’18. NANA Domain (USA)
“BBQueens | An inverse archeological BBQ” is an experimental documentation of NANA Domain’s contribution to the exhibition Chance Ecology at the Queens Museum, New York. NANA Domain is a loosely organized collective working on the intersection of art and archeology. ÐBBQueens" created an archeological site in reverse, enacted across the entrance to the Museum. Concurrent with a ceremonial BBQ a shallow pit was excavated, into which various objects were deposited in service to creating a fictitious but intentional and site-specific narrative to be transmitted to a future archeologist.
17 “Definition of space II” 02’53. Johannes Gerard (Holanda)
The work express and relates the situation of a single person of a group /crowd in the surrounding visible en non-visible space. The space related to the person , personal space, chairing space, space created by borders, space with no defined boundaries. Space which creates loneliness and the opposite space with creates a group. Space defined by visible and physical borders. Then in the reverse position space without a limit or clarified boundaries. Further on the space defined by environment and our personal space and space around us.
18 “Reenactment explorations I” 04’59. Maryna Makarenko (Alemania)
Reenactment Exploration I is a video experiment exploring the notion of reenactment through media of performance. Three groups of people asked to reenact an archival documentary footage. Only the first group knows the source. Second group reenacts a performance of the first group without knowing the original footage. Third group reenacts second group without seeing the reenactment of the first one as well as the original footage. Questions of translation and somatic memory are raised through the video experiment speculating on the idea of information transmission through DNA.
19 “Celebrity” 01’52. Khalil Charif (Brasil)
The images show an environment where a crowd is taking pictures, shooting continuous flashes toward the observer. "Celebrity" are us, the audience - to whom the artists do their works.
20 “I am learning to abandon the world” 10’08. A Moon (USA)
This silent found-footage film cuts together eventless moments from a trove of vintage 16mm films discovered at a salvage house with new intertitles to create an elusive anti-narrative of absence, self loss, desire, and hidden threats. The film shifts the original films’ focus on the external, the visible, and the spectacular. It explores, instead, the internal psychological experience of the on-screen women, whom it reimagines as heroines, the unrepresentable, and the possibility of imagining female subjectivity in a medium whose formal conventions have been defined by heterosexual male desire.
21 “Poultice” 07’18. Kelly Hill & #HOTDADJESUS (Canadá)
Two sisters go for a hike in the woods to try and reconnect with nature, but feral boys, computers, and an ever-present hum all conspire to keep them apart not just from the natural world, but each other too.
22 “Quintal” 08’59. Bernardo Zanotta (Brasil/Holanda)
“Quintal" is the accidental remake of the1959 short-film, Pátio by Glauber Rocha. Here, a new narrative is composed; sometimes in conjunction, sometimes in disjunction, with the original mise-en-scène. The viewer sees a man and a woman who have been thrown into a yard. The two characters develop slowly; they move away from each other, they look at each other. A cruel and obsessive game is played.
23 “The arab spring” 01’06. Bouslama Chamakh (Túnez/Suiza)
The democratisation process in the circle of repression-resistance.
24 “The stream VII” 05’56. Hiroya Sakurai (Japón)
In the man-made waterways of rice paddies, the water in nature must follow artificial rules. In that way, nature is made abstract, giving rise to a new form of beauty distinct from the natural state. The theme of this work is the liveliness of the water as it follows the man-made course. This work is a ballet using the sound and the movement of the algae and water. With the waterway as the theater, I filmed the choreography of the algae that flows in the water. I shot this with a waterproof camera on a slider dolly . Using this device I created a simulated experience of walking through the waterway for the viewer. This time I focused on the expression of the movement of the sand in the waterway and the reflection of the surface ripples on the waterway's inside walls.
25 “One square mile” 07’25. Chris Paul Daniels & Sam Meech (UK) 
A short instructional video containing some easy steps for how to rightly read an area. By following this process carefully, you will be enabled with a Valuable Dataset which will allow you to clearly define any locality towards redeveloping a brand new sense of place. Invest this time and we’ll push the boundaries, survey the contents and help write a policy that works for you… Chris Paul Daniels and Sam Meech employ absurdist methodologies to explore environments, architecture and communities within one square mile of Media City UK – Northern England's broadcasting beacon from which narratives are edited and distributed. The film celebrates the area whilst critiquing the notion of culturally surveilling, and drawing conclusions from, an arbitrary space.
26 “La flamme” 07’16. Chachee Valentine (USA)
Ignited by the suicide of Belgian director/writer/artist Chantal Akerman, a new filmmaker explores ritual, anxiety and obsession. 2017/09/13 19:00 h. dohainik gratis. BilbaoArte. Urazurrutia, 32. Bilbao. Cine vasco experimental.
27 “Nostalgia de internet” 10’00. Khuruts Begoña (Euskadi) 
INTERNET. ATROFIA DE LA MEMORIA Y LA INTELIGENCIA. Internet es la religión que está más en boga; un mundo virtual que absorbe al mundo real, como si éste se fuera a acabar
28 “Ibilbideak” 09’18. Luisa Montes Urrutxua (Euskadi)
Trabajo basado en la idea del trayecto y la búsqueda permanente, que toma como banda sonora una composición de Lorea Oar-Arteta, titulada ‘Paper pieza’, que se relaciona con las mismas ideas.
29 “Baltza, azula…” 04’12. Lorea Oar-Arteta (Euskadi)
Zer ete dago handik aurrera, y si hago así, y si hago asá, may be this way, may be here, may be there, akaso akaso beste horretara…
30 “La mar” 08’50. Aintzane Arangüena Oar-Arteta (Euskadi)
La Mar, es poesía visual y sonora, una descripción de sensaciones introspectivas que nos hace sumergirnos en un mundo mágico, doloroso y placentero al mismo tiempo, a través del sonido y la imagen.
31 “La ironía” 09’12. Los Morenitos (Arangüena & Corcobado) (Euskadi)
La Ironía, es una obra en la que se fusiona danza, arte plástico y música electrónica, es una metáfora en la que se retrata la situación en la que se encuentra la sociedad a día de hoy.
32 “All I need is you” 04’30. Aitor Oñederra (Euskadi)
Natalie es una androide que vive a las afueras de Beirut con su marido y su gato. La adicción al trabajo le llevará a una obsesión por sus victimas.
33 “Círculo de animales” 16’33. Mikel Otxoteko (Euskadi)
Al pensar en cuestiones militares, se tiende a considerar que el asunto trata exclusivamente de la guerra y sus terribles consecuencias. No obstante, también podría decirse que los efectos más importantes relativos a la empresa militar en el mundo civil han sido durante tiempos de paz, y han tenido que ver poco con temas específicamente militares, como la táctica o la estrategia. Circulo de animales sugiere que la historia occidental ha sido testigo de la lenta militarización de la sociedad civil.
34 “Jane, Tarzan, ez zen horren guay” 03’23. Begoña Vicario Calvo (Euskadi)
Se trata de una reinterpretación de la famosa escena en que Tarzán y Jane nadan juntos, de la película “Tarzán y su compañera” (1934, Cedric Gibbons) donde el color, las formas abstractas y los ritmos nos hablan de un cambio de paradigma.
35 “Dual” 04’57. Glasz DeCuir (Euskadi)
Immersive Experience, Real Time Animation. Featuring Deceptions Digital + Echo Starship in a musical dualstream (original) and SaveMe Oh Visual Experience in Virtual Worlds.
36 “Poemas” 12’58. Elena Sáenz & Urko Olazabal (Euskadi)
Un proyecto experimental donde la poesía se encuentra con la fotografía, la tecnología y las voces. Una combinación de poemas visuales.
2017/09/14 17:00 h. dohainik gratis. Sarean. Plaza Corazón de María, 4. Bilbao.
37 “Holy delta” 20’44. Alejandro Sajgalik (Canadá)
In a city taken over by a capitalist post-communist succession, a prophet-like character embarks on a journey inside an uncompleted artificial lake. Dubbed the delta between the blocks, the gaping hole has been freed from society’s ties for over 25 years. Amongst cruisers, Gypsies and shepherds, he divests earthly goods and ideas, in an attempt to unravel the inner workings of utopian desire. Meanwhile, an official decree designates the void as a National Park to clear the anomaly. In response to the city regaining control over the lawless territory, can poetic acts become the seedling to a new morality?
38 “Phoné-copie” 12’12. Anatoli Vlassov (Francia)
This film was shot in Bailu, China, by choreographer and dancer Anatoli Vlassov. In 2008 the town was entirely rebuilt in french-style architecture. This work explores mimicry, visual and verbal, through the idea of "phonésie", that is representing words and sounds through body language.
39 “Visite” 02’27. Bérangère Crespi (Francia)
Before moving, she looks at every corner, uncovers family treasures and haunts them in a language appropriation's attempt.
40 “Teatime ponderer” 01’35. Amin Shaikh (USA)
A cup of tea expands the girl's seemingly 'random' thoughts.
41 “Topic #8” 04’22. Benna Maris (Italia)
I felt the need to say something on this topic. Can't forget.
42 “Lying women” 03’56. Deborah Kelly (Australia)
Reclining nude female figures from the western canon of art history escape from centuries of servitude to the colonial heteropatriarchy and form a revolution.
43 “Das zeitalter der reaktion” 05’39. Pawel Szostak (Austria)
44 “Melodica”275’28. Rachel Monosov (Bélgica)
Rachel Monosov leads us into ambiguous and absurd situations, in which we learn to accept and live in this constructed world. The images are beautiful and surreal, forcing the viewer to trust them and allow events to unfold; we gradually accept the weird things that are happening. While the work exposes earthly desires, it simultaneously offers a place where reality cannot enter and feelings of emptiness and melancholy rise slowly to the surface. Melodica’s characters embody Rachel Monosov’s concerns. They are her mirrors as she imposes upon them her train of thought. The image of the self comes into question, as does narcissism when the actress playing Melodica, the film’s protagonist, reflects on her own image during a night scene and becomes aware of the audience. She looks into the camera and calls the cast to come over. “You are a piece of art … Look! They are all there for us. You don’t see?” she whispers. Where the action is frozen and the meaning ambiguous, Monosov raises existential questions within a rich setting of colours with characters under complete control of the artist. She opens a place for the self to feel, rather than be afraid of, beauty. Precisely because of the contemporary chaos we live in, the artist creates a beautifully detached world through aesthetics, which contains all the pain and anxiety surrounding us.
45 “Deleting sar hale stemrari” 04’32. Maryam Katan Foroosh (Irán) A story about deleting in the most present continuos phase...
46 “Widow-remix” 06’58. Jil Guyon (USA)
I create solo, movement-based performance works for stage, chosen sites, and new media using autobiography as the conceptual departure point for the exploration of loss, catharsis, and transcendence.
47 “Autopejzaž” 08’18. Irena Ristic (Serbia)
SELF-SCAPE is a postdramatic experiment by Irena Ristic, conceived as a journey to axiological and political selfawareness. Looking for the spots of particular statements about the position in the world, about friends, about ownership and possession, about marriage, about humor, about hope and revolution - the author tries to respond to few questions, that have never posed to her. The boundaries between what is hers and what is considered general have been shifted. The question remains whether it is her personal view authentically hers, or common, generic far more than she assume or she wish it to be.
48 “Line scanner” 01’11. Dejha Ti (USA)
Line Scanner is an illusory exploration of projected line animations onto human motion. In-camera effects only—all animations were projected live onto the performer.
49 “Astral atomic” 02’54. Sean J. Kenny (USA)
Hand-made 16mm film using bleached and inked, black and clear leader with deep space recordings by NASA.
2017/09/15 17:00 h. dohainik gratis. Sarean. Plaza Corazón de María, 4. Bilbao.
50 “Bunny girl” 29’04. Monet Clark (USA)
Driven by the crises state of our biosphere due to climate change, a Playboy Bunny/animal of the same name traverses sweeping landscapes layered with found footage of global events. With nature as her co-star, she points towards our dystopian present. Using wry humor, BUNNY GIRL ties environmental destruction to the suppression of the feminine, which is blossoming nonetheless in the face of attack and further primed to save the world.
51 “Prison island” 03’50. Susan DeLeo (USA)
Prison Island is an exploratory journey through an island previously inhabited by prisoners of war. It is a portrait of a place conceived through 3 rolls of super 8mm film and the impressions left on the filmmaker from a days visit to this abandoned and fascinating site.
52 “Parking lot attendant” 04’15. Charlotte Clermont (Canadá)
In collaboration with Alain Lefebvre (text and sound), Parking Lot Attendant is a visual interpretation of a poem on boredom, proposing a fragmented portrait of daily life. By using analog cameras and recording multiple projections manipulated in real-time, the formal exploration of glitches and image processing creates a tension between contemplation and turbulence.
53 “Numb” 07’40. Yuka Sato (Japón)
This film is a combination of drama and experimentations mainly using the darkroom.
54 “I don’t think so” 04’30. Nate Christenson (USA)
An egg's life gets turned upside down when he encounters a world of bouncing ping pong balls. This short film is an exploration of alienation from society. On one level it connects to the experience of introverts surrounded by a society of extroverts. On an autobiographical level, it captures the culture shock of returning to America after growing up in China. By simplifying these experiences of alienation into a narrative told with inanimate objects, I hope to get at the true heart of the alienated experience. The viewer should be able to relate to the short film regardless of their specific situation.
55 “Nightmares of the New World” 07’31. Nataša Prosenc Stearns (USA)
The work of the video artist and filmmaker Nataša Prosenc Stearns is never directly illustrative, but her new series Nightmares of the New World is clearly a reaction to the bleak socio-political climate. The first three videos of the series: Humans Crossing, Deafening Whispers / Alternative Facts and Nucleus Brass, address the uncertainty of our physicality from an embryo to a robot, the rising and ever migrating population on a progressively more damaged and claustrophobic planet and the unreliable state of truth, which has been replaced by fiction so often, that it has become impossible to recognize one from another.
56 “Parallel lives” 17’10. Dorothee Hase & Pablo Zinser (Alemania) 
"Parallel Lives" represents a cycle in which three colors rotate around a protagonist while each of the colors stands for a different moment in time. In all of them the protagonist finds himself confronted by causalities of his actions as he lives entirely isolated from the outside world.
57 “Street Twenty-Seven number ten sixteen” 02’47. Josh Weissbach (USA)
In Street Twenty-Seven Number Ten Sixteen there is the memory of a bedroom in an apartment on the third floor of a building. There is a reverie of a melancholic love song playing on an airplane, flying towards an island, straddling an ocean and a sea. There is the soft haze of an embargo slowly lifting into the celestial blue.
58 “The new commons” 05’33. Anthony Stagliano (USA)
A chilling, dystopian future is narrated entirely through surveillance images, traffic and weather cameras, and other public ima
59 “Cove” 04’56. Natasha Cantwell (Australia)
Cove employs a minimalist narrative to explore social isolation as a product of contemporary city living. Centered on a misguided attempt at a neighbourly gesture, it portrays residents in a small cul-de-sac managing to avoid real interaction despite their geographical closeness. The film’s structure reflects the characters’ self-absorption as the story drifts into their individual worlds and we become lost in their preoccupations with mashed potato, blood and perfecting a homemade bee suit.
60 “My world” 03’46. Sergio García Locatelli (Perú)
Sigo buscando en mí mismo si Madrid es mi ciudad. Vine aquí hace más de 7 años desde un lugar 9546 km. muy lejos de aquí. Con la luz del día me siento extranjero, no importa, nadie puede decirlo a menos que yo hable.
61 “Repolho” 08’08. Alexander Buck (Brasil)
Cabbage, a herbaceous plant. Peculiar species of the borecole genre, best known for developing a characteristic "head" of fibrous sheets firmly entangled. The vegetables are defined by the slowness of their movement, which is metabolism, through which the water and soil nutrients are incorporated from dark roots through the phenomenon of photosynthesis. By being harvested, a mature plant is prepared for the pinnacle of its existence, and its metabolism is suddenly released in the degenerative process towards rot.
62 “Avant le roi” 01’15. Jorge Mario Zuleta (Costa Rica)
Vive le roi. Mort aux mauvais gouvernement
63 “Physical” 02’16. Sami Pfeffer (USA)
Body and breath.
64 “Meat” 04’35. Emma Catalfamo (Canadá)
Meat is an experimental short that illuminates how the patriarchal society we live in manipulates and controls women through advertising and consumer culture.
65 “The elephant dance” 02’37. Hugo Egan (Australia)
The Elephant Dance is based on a school concert from 20 years ago, re-preformed in a spontaneous manner. It is edited from a 35 minute continuous performance.
66 “How to make an egg roll” 03’25. Valery Jung Estabrook (USA) 
Learn how to make a classic eggroll with this easy to follow recipe.
2017/09/16 17:00 h. dohainik gratis. Sarean. Plaza Corazón de María, 4. Bilbao.
67 “Ego” 13’02. Kaya (USA)
68 “Troublemaker on the frequency” 05’09. Clark Nikolai (Canadá) 
When the ionosphere goes crazy, all sorts of images and sounds come together. Troublemaker on the Frequency is a glitched out experiment that combines shortwave radio clips from 1985, video recorded on a Fisher-Price PXL-2000, VHS footage from Toronto Gay Men’s Chorus “fORTE”, and audio drawn from a found English language travel phrases CD.
69 “Jumbo / Toto, histoires d’un éléphant” 1h 07’57. Noëlle Pujol (Francia)
From Germany to Italy, the United States to Île-de-France, Jumbo/Toto, Stories About an Elephant shadows the itinerary of a single forgotten animal, an African elephant doubly-named Jumbo/Toto. Jumbo, as he was called on German colonial ships, at the Amerikakai port of Hamburg, and in Carl Hagenbeck's zoos; Toto, as he'd come to be known with great fame in fascist Italy. An urban investigation and an adventure film, a ballet of flora and fauna and pavement and sea, Jumbo/Toto, Stories About an Elephant is a modern epic of the joy and pain of the 20th century set in what still remains strange and unknown: the 21st century, and the solitude of telling a story.
70 “Orakel van een gevonden schoen” 04’35. Isabella Gresser (Alemania)
A black and white dystopian experimental video poem about the search for identity. The intensive poem urges to reflect on our life which is surrounded by hyper action and communication and the pressure to adapt. It is adressed to a longing for calmness and „emptiness“ in a philosophical sense. Author and speaker of the poem: Oracle van een gevonden schoen, is the poet and writer Mustafa Stitou, born in Morocco studied philosophy in Amsterdam, he works and lives in Amsterdam. The poem is from the volume of poems: Temple from 2013
71 “Les étrennes des orphelines” 24’56. Dan Robert Lahiani (Israel) 
The Orphan's Gifts is a film which explores reminiscences of a childhood through the materiality of space and light. Visiting emotions and memories with personal existing objects. The performances that are filmed in this familiar and cold space bring into play the ambiguity between an home and a museum. The building up of the piece bring forth reflections about the relation between subject and object. By way of physical movements of blinds, the space transforms into an apparatus. Through those different dimensions of space and time, the storystelling opens up a path between the difference states of unconscious and subconsciousness.
2017/09/19 17:30 h. dohainik gratis. BilbaoArte. Urazurrutia, 32. Bilbao.
72 “Cold facts” 16’34. Inés Moldavsky (Israel)
An impossible intimate relationship develops between Ines, the creator of the film, and Belal, a young Palestinian. Through their personal anxiety and desperation, a portrait of a national crisis is depicted, in a so-called binational state. The film is based on autobiographic experiences, combining fiction and nonfiction. It deals with questions of identities and personal relationships, the politicisation of the body and whether it is possible to release the body from the political identity forced upon it.
73 “Un tollé rable” 05’40. Mehdi Bouzoubaâ (Marruecos)
The film is an artistic point of view that offers a three-part poetic reading about the condition of the Woman: The Woman runs into a hopeless world. The Woman awakes with the duty to forget her scars. The life of the Active Woman is an endless labyrinth.
74 “The big wash” 14’28. Seth Woodyard (Canadál)
This video documents a performance piece that was conducted in 2012. The resulting video is one component in a larger installation that integrates video, performance and architectural sculpture. Shot on site at St Margaret’s Anglican Church in Winnipeg MB, the video incorporates an original piece of music by Winnipeg band Alanadale, a thirty member Men’s choir, and a wooden bathtub. The video depicts a reimagining of the act of ablution, or ritual cleansing told through the lens of the Greek myth of Sisyphus. As the band begins to play, the artist, dressed as a labourer, enters the chancel of the church, undresses and proceeds to thoroughly wash his body. The video climaxes as the thirty member masked men’s choir erupts into a revolutionary chorus and the bather gently slips under the water not to resurface. The repetitive nature of the performance, coupled with the looping of the video, and the Sisyphus narrative fleshed out through song, draw attention to the beauty and absurdity of a utopian impulse realized through labour.
75 “Shallow deep” 01’35. Tracy Peters (Canadá)
Shallow Deep is a visceral exploration of emotive landscapes, in which Peters alters her breathing to correspond with the fluctuating water levels of a stone beach.
76 “Convolve” 03’20. Colby Richardson (Canadá)
A frantic and hypnotic journey through the pages of Greg Bright’s Fontana Mazes. Utilizing single frame animation, prisms, warped mirrors, and water to further distort the already convoluted path of the labyrinth. Shot with in-camera edits on Super 8, the score is generated by a video feed of the film which is directly translated into an audio signal.
77 “Thunderbolt” 03’55. Heidi Phillips (Canadá)
Light explodes out of the darkness engulfing a young woman as she tries to find her way through the storm.
78 “Inversa” 03’35. Flako Rojas (Venezuela)
Inversa es un diálogo entre el cuerpo y el espacio. Sustituyendo un pedazo por otro,todo se invierte, indagando en las posibilidades de las formas. A través de un televisor antiguo y la mirada curiosa de un gato negro, se sintoniza el collage de una narrativa inversa, una coreografía que va creándose a medida que las imágenes dan vueltas en busca del punto efímero de la estabilidad.
79 “This is the title” 04’45. H. C. Turk (USA)
A pipette splashes water against a convex stainless steel serving spoon. The sound track's elements try not to correspond to the drips. The concept manifested is: Look nice, sound good.
80 “Soar” 02’12. Taryn Ward (USA)
By following every airborne golf ball at the 2015 Honda Classic Golf Open, this piece explores the tournament's changing atmosphere and landscape.
81 “Infinity Hotel” 03’51. Neely Goniodsky (Canadá)
The Infinity Hotel is a place with an infinite number of rooms. When guests arrive, all other guests shift one room over in perpetual limbo. With one exception...
82 “Liquid path” 03’59. Filomena Rusciano (Italia)
Wore the dress courage,migrant’s hope floats restless in the sea as a crammed message in a bottle that runs on uncertain trajectories.
83 “일분 (One minute)” 06’53. Luis Corzo (Guatemala)
A one-shot, slow-motion video of the Pyongyang streets on the supreme leader Kim Il Sung's 104th birthday.
84 “Kitchen’s orchestra” 00’59. Tina Krüger (Mozambique)
This one-minute film by Tina Krüger gives a powerful insight in the beauty and musicality of every-day cooking actions. The food being prepared is a traditional mozambican dish called Makhofu, which inspired the making of this film by it's unique sounds and rythms. The film aims to be a perspective-change to the way we usually perceive the things we do while preparing our food.
85 “Stuff as dreams” 05’54. Guli Silberstein (UK)
A painterly moving collage composed from images of travelling with family, which might have been a dream or maybe not, intertwined with panicked news reports from scenes of terror that may or may not have happened. The work explores both personal and public perceptions of an increasingly fractured world. ''Melted into air, into thin air...we are such stuff As dreams are made on.'' The Tempest, Shakespeare.
86 “Isoldes verklärung” 01’23. Sara-Lisa Bals (Austria)
The infamous 'love-death' of Richard Wagner is being made into a dream-like noise-techno piece. Dissonant voices form pressuring clusters of sound. Romanticism blends with uneven rhythms and noisy beats. In the development of space and situations, I have tried to dive into the inner life of Richard Wagner's ISOLDE and to understand her motivation for the self-destruction. From these thoughts, ideas have developed into situations in space. As well as in music, fragments are creating feelings that are inspired by figure of Isolde. The fabric, is the leading actress and almost physically: she is seated on edges, stretches, floats lightly and silently through the room and takes on human forms.
87 “A dream of paper flowers” 06’17. Leila Jarman (UK)
A Dream of Paper Flowers is a poetry film. It is an art film. It is a soundscape steeped in allegory, a capsule of femme horror, unnerving and captivating. A glimpse into the raw, jagged coals of the female psyche.
88 “Disciplino g fylogenese” 01’43. Thomas Kyhn Rovsing Hjørnet (Dinamarca)
The video is a montage of elements, which, in the resulting combination, revolve around the theme discipline/form, as related to organisms in general, to the body, and to their development.
89 “Plasma vista” 07’31. Sarah Cockings & Harriet Fleuriot (UK) Objects and devices become bodily and manipulative. The magician is a composed cartoon machine repeating tricks and equations. When products become prosthetics does the accessory take some emotional control?
90 “Flood” 04’06. Susu Laroche (UK)
In miasmatic apas, Lustration. Cheers to the flood that took everything away.
91 “Vermelho, 02” 02’25. Elenize Dezgeniski & Débora Zanatta (Brasil)
The film is an investigation into the idea of edge and vertigo, about a body that collapses between video and performance. Originally produced for the International Super 8 Festival – Curitiba (Brazil), shot in a single shot and later edited in digital format. It is the second video of the trilogy "Red" of the artist Elenize Dezgeniski. In this stage the work was built in partnership with the filmmaker Débora Zanatta. The video that preceded it, titled "Red", was shot in the desert of Viesca (Mexico) in 2012 and exhibited, among other shows, at the exhibition TUPI OR NOT TUPI, (MON - Curitiba, 2014). The line that crosses the works, deals with the collapse of a body in situation of delirium. It proposes reflections on the dilatation of time, actions of discontinuity and interactions between body, dress and environment. The suffering of a detachment, a strangeness that sets in motion.
92 “Eternal frame” 05’55. Yimyun Myum Yi (Corea del Sur)
The eternal cycle of eternity with a moment.
93 “The good me” 10’44. Reason Gajurel (Nepal)
A young student filmmaker, Reason feels lonely even in the presence of the whole crew during his own shoot. An actress enters to bring smile on his face while nothing can move him except for the fight among his crew. The film ends with a sad song by the director.
94 “Conventions in western art favor portraits that position the face slightly offcenter to avoid disturbing symmetrical compositions” 01’32. Slawomir Milewski (Polonia)
'Carbon dioxide from burning fuels causes global warming, a process capable of changing the world's climate significantly. The amount of carbon dioxide in the atmosphere has increased steadily over the past 150 years, and so has the average global temperature.' This is a movie about it. No, ihis is not a movie about it. And the most of all this is not a movie at all.
95 “Homecoming artist (Dresden)” 04’25. Shahar Marcus (Israel)
In the video homecoming artist the artist Shahar Marcus driving with two young models at the back seat at the heart of the city of Dresden in Germany. During the ride the people of the town are being asked do they know or heard about the artist. None of the people know and most of them don’t care about art at all. Never the less while riding slowly around the city Marcus is waving to the people and the people are waving him back as if he is a known celebrity or a local Politian who is doing his campaign election right now. The drive implicates the gap between the art scene and the common citizen in small towns.
96 “Womb” 32’51. Gilles Jobin (Suiza)
The latest work by Gilles Jobin is an augmented artistic experience, the like of which has never been seen in the world of dance before. WOMB is a 3D short film which marries stereoscopic images, dance, visual art and music. It is an existential tracking shot, an abstract analogy of life’s journey that draws on the depth of space and the volume of bodies to trigger a contemplative and emotional response. The Swiss choreographer invited a number of leading contemporary artists to join him on his innovative adventure: Swiss artist Sylvie Fleury, the Belgian costume designer Jean-Paul Lespagnard, and Franz Treichler, frontman of the internationally acclaimed swiss rock band The Young Gods. The project is supported by Pro Helvetia as part of its “Digital Culture” programme.
97 “Scratch gently” 02’00. Abeer Hariri (Siria)
“Everyone sees the unseen in proportion to the clarity of his heart, and that depends upon how much he has polished it. Whoever has polished it more sees more - more unseen forms become manifest to him.” -Jalaluddin Rumi In order to survive in the society I’m in now, I tried to grasp signs of the unseen under black garments. It’s really hard to do so because at some point in the process, the majority of such a society will try to change your identity and to erase your difference or hide any trace of it in order to accept you. I long to see a society where anyone could be whoever they want to be, where what you see is so clear and beautiful that you wont have to hide it with black. Where people treat any religion as a belief, not as an identity.
98 “Ende” 01’00. Csaba Monory & Gábor Imre (Hungría)
99 “Ripe” 04’59. Lisa Kusanagi (Japón)
"Ripe" is one of Kusanagi's on-going multi-medium performance series "Psychosomatic Erosion," which deals with hypersexuality and the politics of women’s bodies: how commercial and porn industries shape and distort our sexuality, sexual desire, sexual identity, gender identity, sexual norms, ideas of pleasure, and human relationships. Women are on the frontlines of the pleasure-selling culture. Women’s bodies are hypersexualized in our daily lives. This phenomenon affects the aesthetic of body images and physical identities including all gender identified bodies. I strive to bring awareness to the community by my art: what are the consequences of this saturation for our culture, sexuality, gender identity, and human relationships? My art emphasizes the fact that each and every one of us has created this culture: we participate, we contribute, we benefit, and we are its victims, simultaneously.
2017/09/20 17:30 h. dohainik gratis. BilbaoArte. Urazurrutia, 32. Bilbao.
100 “Le passeur des lieux” 1h 11’32. Gilles Delmas (Francia)
"The ferryman" is a documentary on the place of the rite, the trance, the performance and the showin the world, with the creations of Damien Jalet, choreographer / performeur. Through the way of the existence of a man-deer interpreted by Damien Jalet, we build parallelsbetween time and places connecte in a cinematic space: In Bali, in Japan, in the Scotland, in Brussels, in the Louvre, in the opera of Paris, in Créteil.... This movie is a deification of the life and the nature which expresses itself in a profusion of rites, trances, and sculptures. Exploiting nature untill Fukushima.
101 “Listen” 01’51. Nina Ossavy (Noruega)
Our oeceans are in danger. We need to reconnect to the watre in order to protect it. But how can we do it, when we are so afraid for it and its inhabitants. In this absurd short movie a mans does his best by trying to get to know the sharks. But they are to scary to communicte for real so he uses a toy shark. In the end the moves goes under the water with the shark. He returns to the ocean from where we once originated.
102 “Mr. Anxiety goes on a date” 00’30. 4inaroom (Ciobanu & Florea & Cojocari & Ilicevici) (Rumanía)
A man suffering from extreme anxiety prepares to go on a date. A project done entirely in one day by 4inaroom on October 17th 2016.
103 “Playa” 04’519. El Zoid (Italia)
A man goes to the beach. He dies at the end.
104 “Itsy bitsy” 06’36. Lisa & JuJu Kusanagi (Japón)
According to research, there are 9 different types of intelligence; naturalistic, musical, logical-mathematical, existential, interpersonal, bodily-kinesthetic, linguistic, intra-personal, and spatial. Kusanagi Sisters question alternative types of intelligence not previously defined. They reject colonization of white supremacist capitalist patriarchy in order to think and create freely.
105 “El fin justifica el inconsciente” 01’00. Michel Soto Franco (Argentina)
Los detalles crean un universo de imágenes y sonidos que juegan con el inconsciente hasta converger hacia lo real.
2017/09/20 19:00 h. dohainik gratis. BilbaoArte. Urazurrutia, 32. Bilbao.
Cine mexicano experimental.
106 “Yolotl” 03’26. Iliana Sánchez Meneses (México)
“Yolotl” significa corazón en náhuatl y recordar significa “pasar por el corazón”. Yolotl es un cortometraje que llama a recordar a través de nombrar. A dos años de la desaparición de 43 estudiantes de la Escuela Normal Rural “Isidro Burgos” en Ayotzinapa, Guerrero, es indispensable seguir nombrando e invocando a la memoria en donde el acto de nombrar a los estudiantes se conviertan en una polifonía que nos convoque a todos.
107 “Sphairos” 03’40. Rogelio Meléndez (México)
“Sphairos” se centra en el ser humano y su búsqueda por el control de la perfección y la inmortalidad. La idea del hombre en su intento por levantar y sostener una piedra que ha sido producida por partículas de tierra, de agua y aire crea una metáfora en donde la roca sirve como un símbolo de la absoluta perfección, del motor originario para el Cosmos y el hombre pretendiendo suplantar la naturaleza.
108 “Cortes” 10’21. Emiliano Mendoza Uribe (México)
Cortar las piezas, ajustar los ensambles, tomar las medidas, pulir los defectos, tomar las medidas, cortar los defectos, pulir las piezas, ajustar las medidas, cortar los ensambles, ajustar las piezas, cortar las medidas, pulir los ensambles, ajustar los cortes, medir los defectos, ensamblar las piezas, cortar los ajustes.
109 “El origen de las piedras” 05’30. Mauricio Sáenz (México)
“El origen de las piedras” cuestiona los ideales del pasado y su vigencia en el presente por medio de la decadencia y caída de monumentos construidos para preservar una memoria histórica. Con un texto basado en un debate que pone en duda la eficacia de una escala empleada para documentar la proporción y apariencia de restos arqueológicos, esta obra ve en el concepto de la ruina un elemento de contenido vivo enlazado al presente y enfatiza la poderosa aunque frágil naturaleza de las narrativas de la historia. Por lo tanto, se hace evidente la imposibilidad de imaginar las promesas de un futuro en las ruinas de un pasado reciente, representando así un modelo del fracaso de la utopía.
110 “Juillet” 02’28. Ian Menoyot (México)
In
July 2016 the US officially bombs locations in Syria while an american becomes the first man to dive from an aircraft without a parachute.
111 “Analogía de un viaje” 08’27. Erick Tapia Resendiz (México)
El viaje como trayecto de una parte a otra o solo un estado de ensueño, en la búsqueda de un lugar para re-vivir y re-adaptarse. Viaje apropiado con 220 póstales de todas partes del mundo, de diferentes épocas.
112 “Cotidiano (abrochar y desabrochar)” 01’58. Yolanda Guadarrama (México)
COTIDIANO (Abrochar y desabrochar) nos permite escuchar las voces del deseo explícito de desaparecer por varios escritores, un deseo humano de desaparecer debido a la fatiga de la vida cotidiana. Esta pieza se originó al leer el DOCTOR PASAVENTO de Enrique Vila-Matas, quien también tomó frases y significados de otros escritores. COTIDIANO (abrochar y desabrochar) incluye ideas de Enrique Vila-Matas; Adonis, el poeta sirio; Robert Walser; y Samuel Becket. El sonido está conformado por frases de todos ellos. Esta pieza intenta experimentar la narrativa de un buen escritor como Vila-Matas es de hecho, utilizando los lenguajes añadidos de los recursos de danza, con el movimiento del cuerpo, la imagen, la interpretación y los elementos del lenguaje audiovisual. Fue filmado en R.E.D. Eina, Noruega, 2015. (Residencia Eina Danz.)
113 “Boderhole” 14’02. Amber Bemak & Nadia Granados (México) Borderhole tiene lugar en una mítica zona fronteriza entre Colombia y los Estados Unidos. Investigamos la relación entre América del Norte y América del Sur a través de la lente del Sueño Americano y la iluminación de múltiples tensiones en y alrededor de la frontera. La pieza explora el imperialismo, la globalización a través de la música pop y la coreografía de los cuerpos de las mujeres en relación con la sociopolítica y los ecosistemas.
114 “Autre” 04’20. Carlos GOlo (México)
2017/09/20 21:15 h. dohainik gratis.
La Cumbancha. San Francisco, 9. Bilbao.
Off Bideodromo, tequilería y experimentación.
“Un viaje a Estridentopolis” 1h 15’20. José Peguero Arciniega (México)
Documental alegórico sobre la primera vanguardia que sacude la vida cultural de México a comienzos del siglo XX, redescubriendo el sarcástico, cálido y festivo Movimiento Estridentista por aquellos que lo han intentado en vano enterrar.
2017/09/22 17:00 h. dohainik gratis. Sarean. Plaza Corazón de María, 4. Bilbao.
115 “MetaFilm” 1h 34’54. Chiva (México)
Una pareja mexicana enfrenta diferentes situaciones en su camino para hacer una película en el condado de Humboldt. En su viaje se cuestionan sobre el destino, las señales, el cine independiente, la voluntad; y representan sus pensamientos y aprendizajes en secuencias musicales y psicodélicas, sueños y palabras y frases espontáneas que construyen estas maravillas y búsquedas de sus mentes.
116 “Eryx tataricus” 05’17. Ikhbayar Urchuud (Mongolia)
The melody 'Builgan shar' is a traditional composition for morin khuur (horsehead fiddle). The melody is not only connected to horses, but to many aspects of a Mongolian nomadic way of life. The footage was shot in Albany, OH during the horse show. It was edited and manipulated using analog equipment during the CEC Artslink Residency in Athens, OH.
117 “Pepsi, cola, water?” 09’18. Tom Bogaert (Suiza)
“pepsi, cola, water?” is a short experimental documentary about Sun Ra’s legendary visit to Egypt in 1971. Jazz pioneer and philosopher Sun Ra had a deep fascination with outer space and ancient Egypt. Computer animation, archival footage, and music from Sun Ra are interwoven to create a recreation/celebration of his legendary visit to Egypt in 1971. The result is a film as far out as Sun Ra himself. “pepsi, cola, water?” was made in collaboration with Medrar for Contemporary Art in Cairo, Egypt and SoundImageCulture, the Flanders Audiovisual Fund and Didier Volckaert in Brussels, Belgium.
2017/09/26 10:00 h. dohainik gratis. BilbaoArte. Urazurrutia, 32. Bilbao. Workshop de Kristina Cranfeld.
2017/09/26 17:30 h. dohainik gratis. BilbaoArte. Urazurrutia, 32. Bilbao.
118 “Zuhaitz” 13’30. Sarah Ouazzani (Francia)
«Zuhaitz» is the Basque word for «tree». This video uses the pretext of a heathen rite - celebrated each year in the period around the 15th of August in a small Basque village - to enter into a daydream, guided by fire, and to explore subjectively and sensitively this rite’s impact on its surrounding environment. Like the tree which unites opposites, I try to reconcile the intimacy of an evening around a fire with a nocturnal village celebration lit by torches.
119 “An algorithmic life” 04’46. Rewa Wright (Australia)
Algorithms experience time as microtemporal, a series of quickly expressed mathematical events, occurring one after the other in a precise order. As humans, we cannot begin to comprehend the microtemporal in its real time unfolding, but we can a empt to approach it with that most awed apparatus, the eye. What we see with the eye is never the whole story, and in this case it only gives liminal access to the performance recorded in the film ‘an algorithmic life,’ where vibrant virtual matter pushes forth to slice the eye with its microtemporal pulse. Generated using custom shaders and displacement mapping to create terrain out of entirely non-manifold geometry, this work simulates and speculates upon algorithmic ‘life’ as an emergent computational strata. Each frame is generated using parameters set loosely by the artist, over an extensive timeline of 20,000 frames, which is then left to render by itself for up to three weeks. The resulting rendered frames are mostly a complete surprise to the artist, who has taken a step back and allowed algorithms to generate their own performative record. Music is composed by Simon Howden using an improvisational technique that traces the contours of the visual recording. The performative is no longer the domain of humans: matter has its own agency, pulse, vitality, rhythm.
120 “Groei” 04’46. Sil van der Woerd (Holanda)
Growth is about a family that moves in a new house and lives there for twenty years. While we slide through time in a smooth camera motion seeing the house getting bigger, richer and more luxurious, the family is growing apart hopelessly. In the end it’s the older brother who breaks the downward spiral of financial prosperity and personal downfall by taking his brother by the arm, guiding him out of the luxurious and loveless house towards his own, new future.
121 “I’m a stranger here myself” 09’22. Franziska von Stenglin (Francia)
Valerie's Grandmother, with whom she lived, has died. To escape the emptiness left behind, Valerie goes swimming in a lake. But her memories reach beyond the water, deeper than the lake.
122 “Meeting” 01’03. Michal Baranski (Polonia)
A man, a woman, and the most important - time...
123 “Pustka zaprasza” 03’41. Anna Beata Barańska (Polonia) 
Imagine the space which you follow. A place that discreetly invites you, slowly revealing what is unreadable. Ephemeral story of a journey into the world where reality becomes unreal, our presence is only on spiritual level and time slowly passes by.
124 “Glass bird movement” 03’39. Luk Ka Man & Cheuk Hinyi (Hong Kong)
Human body have been presented in an abstract way in this film. The close up of body parts are being used as moving images. It is magnified and blurred, becomes shapes and lines overlapping with hand-draw lines and color fragments.
125 “Re.vue” 05’58. Dirk de Bruyn (Australia)
An experiment animation. A flicker-fest lamenting a lost relationship with narrative cinema, by which it is forever marked. Yet there are hints for a way back in this age of surveillance.
126 “The roof over their heads” 03’28. Will Hooper (UK)
A surreal short, regarding the inner workings and relationships of a family and the space of the home.
127 “Existencee in one morning” 01’03. Eija Temisovä (Finlandia) 
One morning you wake up. First you do not want to. What do you have in your mind? In bedroom there are many feelings. A short video about feelings of a woman in one morning…..
128 “Utero/Womb” 01’35. Knut Hybinette & Megan Ehrhart (Suecia) 
A feminist collaborative animation portraying the womb as a modern factory.
129 “Freedom to move” 06’33. Marko Schiefelbein (Alemania)
A man is sitting in front of a camera telling a story about an experience he had. Even though he is able to describe the happenings in detail, the story seems to be unlikely or implausible. It is in fact the story from a LEVIS commercial, which he is retelling from the perspective of the main character. The work FREEDOM TO MOVE draws an abstract image of a human that has internalized the images and stories of the world of advertisement.
130 “Ephémère” 05’41. Elio Tayeh (Líbano)
"Out beyond ideas of wrongdoings and rightdoings, there’s a field. I’ll meet you there."-Rumi Asma and Abed, fragments of memories. Naked bodies in the darkness of space... dichotomy and separation... an experience.
131 “Homeless” 05’13. Leyla Rodríguez (Argentina)
132 “Origami” 04’03. Andy Sowerby (USA)
The video aims to capture a raw, organic, tactile energy by scratching and painting directly onto found super 8mm celluloid film. I wanted the film to feel like it’s barely holding itself together and the whole thing could collapse at any moment. The film spontaneously flickers and burns, until it loses stability entirely and begins to break apart.
133 “Lost” 04’39. Marius Gherasim (Rumanía)
Lost words. Lost time. Lost universe. Lost consciousness. Lost country. Lost religion. Lost people. Lost is a derailed train with the engine still running.
134 “Shezhire” 17’37. Yelena Romanova (Kazastán)
The girl warrior rescues the child from the enemy camp. She overcomes death and returns the child, to his mother, accomplished the feat in the name of her family clan.
135 “Split time” 01’49. Annika Glass & Miguel Wysocki (Alemania) 
High speed running in a top university's gym. Looking great. Being fit, beautiful, smart, feminin and strong at any time. Maintaining the images as uploaded on social media. In fact impossible but day-to-day reality. From September 2014 to August 2015 Annika Glass was studying Chinese at National Taiwan University (NTU) in Taipei. NTU is widely considered to be one of the best universities in Taiwan. The videos were shot in the NTU gym, which is used not only for exercising, but also for shooting selfies or performing any other kind of self-portrayal and self-staging activities.
2017/09/26 19:30 h. dohainik gratis. BilbaoArte. Urazurrutia, 32. Bilbao.
Retrospectiva de Kristina Cranfeld.
2017/09/27 10:00 h. dohainik gratis. BilbaoArte. Urazurrutia, 32. Bilbao.
Workshop de Kristina Cranfeld.
2017/09/27 19:00 h. dohainik gratis. Sarean. Plaza Corazón de María 4. Bilbao.
Cine y video experimental francófono.
136 “Notown” 24’45. Emmanuelle Bayart & Timo Kirez (Francia) 
Images of Detroit are superimposed by shadows of a couple. Their dialogues comment between the lines on their stay.
137 “Interzone (part 2)” 05’49. Pierre Ajavon (Francia)
Freely inspired by W.S Burroughs’ Naked Lunch, INTERZONE (part.2) plunge us into a visual exploration of a sound universe haunted by rythms and tones supporting the narrative. Interspersed with series of psychedelic flashes, INTERZONE is a succession of 4 videos roaming through strange imaginary worlds.
138 “Recto/verso” 07’07. Anthoniy Val (Francia)
How does the internal body manifest itself on the form of flesh that hides it? How does it exteriorize itself? How do all the micro-movements come deform the whole, break the form? Then, what is the link between interior and exterior, between inside and outside? What could be the negative versus the positive?
139 “Alma” 03’00. Rudy Tolila (Francia)
This film is a tribute to Persona by Igmar Bergman. This title bears the name of Alma the nurse, sweet and considerate, the first female face of the film. Alma is an experimental film wich questions fundamental ontological. The birth, the death, the reason of existence, the relation to the other and its relation. The merging of both physical and mental images built a block of life or the perspectives give'us to see the meaning of life, the past and the future of human being.
140 “Curse of the flesh” 16’54. Yannick Lecoeur & Leslie Lavielle (Francia)
Invisible men aboard a pirate ship land on an exotic island, where they hope to find a stone that will free them from their invisibility. But this island is inhabited by a tribe of warrior women who worships the mysterious stone…
141 “Eléments 1, 2, 3” 07’21. Tomaž Burlin (Francia)
A trilogy composed of images from a tropical forest, water and a building. Made of three short parts, three distinct periphrasis, each characterised by a particular aesthetic and technical approach. The idea of periphrasis is articulated trough the relation between moving images and music.
142 “Causette” 13’23. Samuel Bester (Francia)
Causette is the term which was proposed in France to translate the English word “chat” used to define the “conversation between several people connected at the same time to a network, who exchange messages being displayed in real time on their screen”. Video makes exchanges more fluid.
2017/09/28 10:00 h. dohainik gratis. BilbaoArte. Urazurrutia, 32. Bilbao.
Workshop de Kristina Cranfeld.
2017/09/28 17:30 h. dohainik gratis. BilbaoArte. Urazurrutia, 32. Bilbao.
Retrospectiva de Cookie Moon.
2017/09/28 19:00 h. dohainik gratis. BilbaoArte. Urazurrutia, 32. Bilbao.
Finalistas Bideodromo 2017.
