Black and White Trypps Number Three, Ben Russell
(USA 2007, 12:00 min, 35mm)
The third part in a series of films dealing with naturally-derived psychedelia. Shot during a performance by American noise band Lightning Bolt, this film documents the transformation of a rock audiences collective freak-out into a trance ritual of the highest spiritual order.

Fata Morgana, Jeroen Kooijmans
(The Netherlands 2006, 1:33 min)
This is a short docu science fiction film that takes place in a typical Dutch landscape, with the waters of a lake reflecting the light of an invisible sun behind blades of grass and reeds and in the background, very far away, a windmill and a church spire. The sky turns dark and a heavenly light shines through a hole in the clouds, which very subtly changes the world as if by an unearthly force.

The Diver, Nicolas Provost
(Belgium 2006, 5:00 min)
A lonely girl is approached by a shy boy on a moonlight balcony. Their longing is hampered by the mysteries of love in a burning night. The Diver is a neo-romantic audiovisual painting. A melodramatic experience that reaches for the viewer’s subconscious cinematic and emotional memory.

Elena “Ladybug”, Irina Botea
(Romania 2005, 8:00 min)
Elena dances accompanied by her band in Bucharest, Romania, in a transitional space in between 2 blocks of flats. People pass by. Is she a woman, or a child? Is she powerful or powerless? Are her movements sexy or innocent? How do we see her knowing that she is a little girl?

Haysha Royko, Miranda July
(USA 2003, 4:00 min)
Like in her feature film FFF, Miranda July demonstrates a remarkable eye for the extraordinary in daily life in this short video piece. In Hay-sha Royko, three people sit nonchalantly in airport chairs, while their different-colored auras, or something much like auras, shape shift, overlap, and compete.

Public Spaces, Martijn Veldhoen
(The Netherlands 2006, 10:53 min)
Once ‘public space’ was a clear concept. It was a kind democratic medium that could be accessed by everyone, safely and freely available for traffic between people. Now things have changed; thanks to mobile communication systems, we carry our personal space with us like an air bubble, and the public sphere has become a set of subsets. It sucks in a great many individuals who cannot or will not ‘participate’, or who do not have or do not want to have access to  the means that link the individual bubbles.

Slideshow, Paulien Oltheten
(The Netherlands 2006, 10:03 min)
What matters for me is human movement and conduct in public. The urban environment offers a rewarding location for this. At the same time it functions as a backdrop against which interesting configurations and compositions can arise. I catch the moments with my photo or videocamera. Afterwards I  subsequently add captions and imaginary narratives that makes them into parts of a whole. In this way I try to add new meanings to what were in the first instance brisk records of street life.

Remote, Martin Brand
(The Netherlands 2007, 12:30 min)
A stranger’s apartment, some skater kids in the park, as well as people and situations randomly observed on the street form the background in front of which Remote takes place. The observing and the cinematic and photographic recording of persons give rise to a personal, essay-like approach to an area between close and far, familiar and unfamiliar, private and public. Remote was produced within the framework of a Impakt Works/EMARE
residency with the support of the City of Utrecht.

Osmotic, Jan Verbeek
(Germany/south Corea 2006, 3:00 min)
A young parking garage attendant with hat and trench coat and long arms conducts the cars to the one or other exit. The precise operation appears like the choreography of a powerful dance. The character of images and the musical composition annihilate boundaries, outside world and inner world merge.

0778 Man.Road.River, Marcellvs L.
(Brazil 2004, 9:27 min)
In order to produce his images, Marcellvs seems to be in an ambiguous zone, combining attention, belief, and detachment. The contingency of capturing these events (or near-events) is fundamental to the production of the videos. Nevertheless, there is no belief in the illusion that just looking at the world would be enough for it to reveal itself.