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There would be no other movies like "The Eggregores' Theory" for quite some time in the near future. It would be hard to define which category it should belong to: a live-action painting, a still version of animation, an introduction to an impressionistic kind of nouveau art school narrated in a postmodern style, or a dystopian sci-fi film set in not-so-long-ago contemporary history. Andrea Gatopoulos has successfully proven that, at least somehow, these binary extremes can coexist in harmony and implement a new language, much like in its own narrative.

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Telemach Wiesinger took us on the road with glittering grains of 16mm. While floating above any simplistic narrative,description or definition, sensual transience becomes tangible during this journey, grounded upon precision and cinematic vision. Transit is a film poem with transitory nature and defiance. Immense but humble, contemplative yet haunting, this film was conceived both as a destination and a detour. Simultaneously, belongs to somewhere and nowhere: a transgression.

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A free association for visual experiences version where darkness dominates the majority of the screen time, which prevents our sight but widely opens the door for our approach into an unlimited hyper-reality voyage. This is very much owing to Richard Peter Tuohy's uncompromising cinematography and masterful editing style, which proves that even blurry and unclear visions can be an indirect means for enlightenment and entertainment value.

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The film effectively contrasts the debate between two AIs about the necessity to control humans with the performance of a real human. This contrast serves as the artists' statement that art has never been, is not, and will never be creatable by AI.

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Digging deep into the grave, as an attempt to develop or re-create what had already disappeared, Ghosting Mother becomes a mournful horror of ritualization and memory. Through self-developed 16mm, old photos and other archival materials, the filmmaker immersed himself into the darkness of a pitch-black night seeking for remaining memorabilia. Ghosting used to be an act of forgetting and distance, however the damage felt through the processed celluloid textures subverted that into an act of transformation, from being deceased and destroyed to a visible ghost. Ghosting as an act of remembrance.

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An uncommon bedtime story, recounted in an absurdist style. This is only half of the movie's visual aspect, where its intertitles almost contradict the images. Even single lines of sentences are self-contradictory in a rational and logical sense. This goes against the traditional function of subtitles/intertitles, which are obligated to serve the narrative picture. Meanwhile, the represented pictures diminish their value, downgrading their significance to a subordinate factor, as reading the subtitles/intertitles is more interesting than the footage and excerpts. This contributes to an unusually bizarre and enriching cinematic experience.

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On the surface, Mountain Roars might seem like an experimental film just playing with nature. Vast mountainous areas, moving streams, sea waves, greenish trees and stalagmites within dark caves are present, but also well-layered mysteries. Echoed from diegetic rumbles and piercing sound alike, here the mountain roars, and resonated even further by imposed cinematic elements lurking at each turn. With the filmmakers’ unique gaze toward their chosen landscapes, these locations were not perceived merely as places but living organisms. There is a breathing body we journeyed within.