"Negative/Positive Film" is a hand-made, camera-less collage film composed of layers of erotic 16mm films from 1920s, 1940s and 1970s, intermingled with nature documentaries and layers of organic materials. This visual abstraction merges together both positive black-and-white film, and its negative black-and-white counterpart - on the same film base. This allows the film to exist in two versions, one positive and, the other negative. The artist once again uses the very delicate technique she has been perfecting over the past years of Emulsion Grafting, also known as Emulsion Lifting. The film is as an abstract remediation of female bodies dislodged from their original erotic context and, ripped away from their male co-protagonists. The man is removed from the picture, while the female body slowly merges with the body of insects and flowers at the crossroad between eco-criticism, decorative art, sculpture, and cubism. This unique film uses organic material, melted together with gelatine emulsion, first liquified then re-solidified, to produce a crystallized allegory of womanhood.

The video work Cercate Ortensia is an oration on disappearance, loss and disaster, but also an ode to resistance and freedom. In a powerfully evocative montage, Pauline Julier uses material from archives both personal and borrowed to construct a layered, critical reflection on our fields of perception and relationship with the environment. Cercate Ortensia is shot through with the precariousness and disruption brought about by the pandemic situation. In this tale, spatial and temporal disorientation, breath, air, fire and embers become philosophical tools for multiplying perspectives. Pauline Julier envelops us in a narrative whose lyricism and tone shift as they come into contact with the elements surrounding them, like the hydrangeas.

I killed you a dozen times, but you won’t go away. Maybe it’s because you’ve killed me first. Out in the cold, on a strange new globe. "I Killed You a Dozen Times" immerses viewers in a captivating exploration of the aftermath of a traumatic breakup. The protagonist, driven to erase the other person from their existence, finds themselves exiled to a chilling and unfamiliar realm. As they confront the relentless echoes of their pain, the boundaries between reality and imagination blur, creating a surreal and introspective experience. l

Demi-Goddesses’ is the second essay about still dominant dark aspects of our modern society. It is conceived as a surreal anti-patriarchal thought experiment and raises important questions about gender, power, and social change, prompting us to reflect on how historical patterns of discrimination and oppression might be either repeated or overcome in a reversed gendered world. It challenges the viewer to confront their own assumptions and biases, and to consider the possibilities of a more equitable society. Overall, the intention of the film is that it will spark conversations and inspire the viewer to imagine a world where gender is not a limiting factor. At best, the audience will leave the theater with a greater awareness of the issues and a sense of possibility for a just future.

In spite of resistance from Brandon, Rupert wants to look inside the chest. He doesn't know exactly what's waiting for him in there.

A playful but dramatic sketch of us all, human beings and the start of life of one of them, ending up in a world full of these creatures. What beautiful, ugly and above all strange creatures we are! Made with found footage only.

My anxious body is a short documentary about our biological bodies not being compatible with the society we live in and about the anxiety it causes to our bodies and mind. This movie is based on a monologue that has come up from the director's own experiences with anxiety. My anxious body is black and white-movie with beautiful and even mystic images and sound design. The creator of this movie gets her relief from the fear of death.

he film poem TURBULENCE stands in the field of tension between surreal fantasy and multi-layered reality. Telemach Wiesinger's photographic recordings of aeroplanes from the perspective of the traveller encounter kinetic wing objects by the composer Alexander Grebtschenko. In the congenial collaboration of the two artists, the electronically controllable "Chimera's" - elegant bird wings with megaphone - unfold expressive "acting" presence. The dialogue between the sound level (Grebtschenko) and the visual level (analogue film workshop Wiesinger) opens up space for emotions, thoughts and interpretations.