Productionyear: 2018

Katushka-party at Uppsala International Short Film Festival – at Pub Cousteau!

Uppsala International Short Film Festival hosts Katushka for an unforgettable party in balkan-gypsy-punk stylee!

We invite all our members (holders of the Festival card, Weekend Card, and Single ticket-buyers, volunteers, and guests with accreditation!) to Cousteau on Saturday 27/10 to sweat on the dancefloor with the short film festival crowd!

This is a closed event for our members, so don’t forget to sign up https://docs.google.com/forms/d/e/1FAIpQLSfEXg3JsziNKTYI0QR9gcnPw_Yo-5YE1WCBHZzUO8fCU9kbZw/viewform?usp=sf_link

Sputnik Kollektiv DJs (Klubb Katushka!) brings you the most crazy beats from the east.

Op-op-op!

Where? Cousteau, Drottninggatan 12
9pm-3am
Entry free of charge with accreditation badge, volunteer badge, Festival Card or Weekend Card.

Hosts:
Uppsala International Short Film Festival (www.shortfilmfestival.com)
Katushka & Sputnik Kollektiv

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A Wall is a Screen

A Wall is a Screen is back! Two screenings, two nights:

26/10 at 19:00 – WALK/SCREENING FOR GROWN UPS (Meeting place: Uppsala Central Station – central passage)
27/10 at 17:30 – WALK/SCREENING FOR FAMILIES (Meeting place: Svartbäcksgatan 7, Guldsmedshuset (outside of St Pers-mall)

These site-specific screenings of short films transform public spaces into pop-up open-air cinemas. The artist group from Hamburg will shine a different light on the facades and buildings and transform the nightly city into a special one-time venue. Experience the city in a new way! Just show up and get into the flow! FREE OF CHARGE!

Arranged by Uppsala City (http://www.uppsalacity.se) and Uppsala International Short Film Festival (http://www.shortfilmfestival.com)

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UPPSALA TALENT DAYS: MEET THE PRODUCERS

Ding! A traditional speed-dating session between the participants of Uppsala Talent Days and a special selection of Swedish film producers where the participants get a chance to introduce themselves and extend their professional networks.

(In Swedish. Participants of Uppsala Talent Days only.)

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WIFT: FILMS THAT BREAK WITH NORMS

Women in Film and Television (WIFT) is an international network that strives for equality in the film and television industries. WIFT presents a conversation with directors Sosi Chamoun and Julia Thelin on their norm-breaking short films. Chamoun’s Princess Boy and Thelin’s Push It were screened at last year’s festival, and Thelin’s Tweener is a part of this year’s national competition. They will discuss how they work with child actors, norms, gender roles and casting, as well as non-stereotypical images. Participants: Julia Thelin (director) and Sosi Chamoun (director). Moderator: Valentina Chamorro Westergårdh (filmmaker and WIFT chairperson).

(In Swedish)

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THE REVOLUTION WILL BE SLOWER THAN YOU THINK

What does revolution look like in film? Artist Petra Bauer and curator Maike Mia Höhne discuss this question through examples from the festival’s R*evolution programme. Bauer is a filmmaker who works with activist and feminist histories, as well as questions of film as a political and collective practice. Referring also to a selection of her own films, Bauer will discuss how she creates images of women’s labour that is a part of every struggle and that often supports more overt struggles. Participants: Petra Bauer (The Royal Institute of Art, Stockholm) and Maike Mia Höhne (curator Berlinale Shorts and R*evolution).

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OFF – OBEROENDE FILMARES FÖRBUND: GREEN CARDS

OFF is a network created by and for filmmakers who want to make films on their own terms. In this seminar, OFF will discuss their thoughts about the “Green Card” education initiative. Following the seminar, OFF will host a reception. Join us and make contacts in the business!

(In Swedish.)

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A METHOD TO THEIR MASH-UP MADNESS

In response to the programme Mash-Up Mayhem, we gather together artists who work with sample-based film to get a better look into the fascinating process of remixing film history. Experimental filmmaker Norbert Pfaffenbichler and the artistic duo Soda_Jerk will discuss how they sift through thousands of images in order to build up new onscreen worlds, as well as strategies of found-footage filmmaking as a method for disrupting official versions of the past, both filmic and otherwise. Norbert Pfaffenbichler’s A Masque of Madness and Soda_Jerk’s TERROR NULLIUS and The Was are all screened in the festival’s Mash-Up Mayhem programme. Participants: Norbert Pfaffenbichler (director) and Soda_Jerk (directors). Moderator: Nadi Tofighian (Stockholm University).

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UPPSALA SHORT FILM PITCH

As part of Uppsala International Short Film Festival, the Uppsala Short Film Pitch has selected seven projects to be presented to a national jury. The winner receives 25 000 SEK, awarded in collaboration with the Swedish Film Institute.

Pitchers: Sosi Chamoun, Anna Erlandsson, Gorki Glaser-Müller, Ali Memarchi, Hanna Nygren, Amna Maksumic, and Brynhildur Thorarinsdottir.

Jury: Helena Ingelsten (SVT kortfilm), Ivica Zubak (regissör), and Anna Byvald (producent).

Moderators: Anne-Marie Söhrman Fermelin (Filmbasen) and Hanna Sohlberg (Film i Skåne).

(In Swedish.)

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SHOOTING UNDER PRESSURE: ON-SET CHALLENGES FOR CINEMATOGRAPHY

Where do we find inspiration? And what role does chance play in the way we shoot a film? In this master class, Ita Zbroniec-Zajt will discuss the process of problem solving on the spot when the best-laid plans go awry. Through examples from some of her most recent films, she will show how she and the crew found creative solutions to on-set challenges.

Zbroniec-Zajt is a director of photography who has worked on short and featurelength films in both Sweden and Poland. She studied cinematography at the Polish National Film School in Łódź. In 2017, she was the first woman to be awarded a Guldbagge for cinematography for the film The Yard. She was also nominated the same year for her work on My Aunt in Sarajevo.

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BERGMAN’S ARCADIA

The city of Uppsala, as depicted in Ingmar Bergman’s artistry, is not so much a geographical place as it is a fantasy – a placeholder for a mythical golden age. In this lecture, Jan Holmberg (The Ingmar Bergman Foundation) tries to find himself in Bergman’s childhood city using dubious maps such as Fanny and Alexander, Laterna Magica, The Best Intentions, and Private Confessions.

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SCREENING OPPORTUNITIES FOR SHORT FILM

How do short films find their audience in a crowded media landscape? This seminar explores the various modes of display for short films both in film festivals and online. It asks the questions of where, how, and why people watch short films today, as well as how short films will be seen and distributed in the future. Participants: Maja Kekonius (Göteborg Film Festival), Olle Agebro (Draken Film), Daniel Ebner (VIS Vienna Shorts) and Eva Thunell (Shortly). Moderator: Ulrika Bandeira (Festivalcentrum).

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BEST EUROPEAN SHORT FILM, REALLY?

European Film Academy Short Film Weekend brings together directors of films nominated as European Short Film 2018. What does that mean and what is the path to the European Film Awards? Filmmakers from the 15 nominated films are joined in conversation with Jing Haase (Swedish Film Institute) about awards, the road to the ceremony, and, of course, their films.

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HOW TO FIND MONEY AND PUT IT ONSCREEN

How can a film that follows an expedition to the top of Mt. Everest cost less than the one shot in your own backyard? In this seminar, creative producer Ruth Reid compares high-budget and low-budget productions in order to show how you can turn the money at hand into quality onscreen. Reid, an award-winning producer based in Sweden and the UK, navigates the thorny terrain of international co-productions and discusses where your money will make the most impact. After the seminar, the participants of Uppsala Talent Days will have the opportunity to meet with the EFA short film nominees to talk about their mutual experiences in making short films and the road towards an EFA nomination.

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UPPSALA TALENT DAYS: EFA MEETS THE TALENTS

The participants of Uppsala Talent Days get together with the EFA short film nominees to talk about their mutual experiences in making short films and the road towards an EFA nomination.

(Participants of Uppsala Talent Days and EFA participants only.)

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BREAKFAST WITH THE FESTIVAL

Come and have breakfast with the filmmakers visiting the festival! We will serve breakfast and hold a Q&A session with the directors competing in the International Competition who are attending the festival. Moderator: Ari Gunnar Þorsteinsson.

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WOULD YOU BUY THIS? – UPPSALA TALENT DAYS

Five specially selected short films made by the Uppsala Talent Days participants are screened and discussed by an international panel consisting of Sarah Dombrink (Acquisitions Manager, Short Film Sales and Distribution, Interfilm Berlin), Sam Morrill (Director of Curation, Vimeo), and Marija Milovanovic (Head of International Competition Fiction & Documentary, Vienna Shorts). This is an opportunity for the talents to get feedback and constructive criticism from international industry representatives. Moderator: Rafael Franco (Film Stockholm/Filmbasen).

Films:
Med kroppen som slagfält (This Body) – Gilda Naumanen
Strangers – Angelica Ruffier-Holmqvist
Ställ in (Cancel) – Sebastian Johansson Micci
Lost in Kyiv (WIP) – Yana Martsynkevych
Andrei’s Maria – Camilla Topuntoli

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BETWEEN DREAM LOGIC AND POETRY: THE AVANT-GARDE IMAGININGS OF GUNVOR NELSON AND MARGARET TAIT

John Sundholm and Sarah Neely discuss Gunvor Nelson in relation to Scottish filmpoet Margaret Tait. During the seminar they compare Nelson’s and Tait’s films in terms of their relationship to the avant-garde and feminist filmmaking practices, as well as take up their shared themes of intimacy and the everyday. Gunvor Nelson and Margaret Tait each have a focus at the festival where a selection of their films are screened. Participants: John Sundholm (Stockholm University) and Sarah Neely (University of Stirling).

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Intro: Bend it Like Bergman

The Uppsala Award in Memory of Ingmar Bergman has been awarded by The Cultural Affairs Board in Uppsala since 2010. It has been given to young and promising filmmakers who push who pushes the boundaries of film art. Watch them push and bend it like Bergman.

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Intro: Shalimar Preuss

This past year, Shalimar Preuss’ latest short film, Étrange dit l’ange (Strange Says the Angel) has garnered attention throughout the short film world. Just this spring it brought home the main award from two of the foremost short film festivals in Europe. Rightly so, too, because it is a remarkable work, full of ”elegant and profound storytelling, edged with mysterious yet gentle danger, rooted in the rich layers of family life”, as one jury put it. This beautiful drama follows an isolated family who, despite the verdant surroundings of their rural home, seem to be living in an apocalyptic future. It shows the filmmaker
achieving something approaching magical naturalism – truly stunning and magically sublime, yet firmly rooted in the real world. This is not the first time Shalimar Preuss
has managed to combine uncommonly sensitive and uninhibited performances from mostly non-professional actors with hints of dreamlike realism that capture richly layered subjective realities. The nuanced portraits are often set against untamed nature, allowing her to explore concepts of mortality, tradition, nature, and loneliness in a subtly incisive manner. Most of her films, including her feature film, have this rare quality. In a way it makes sense that she has returned to short filmmaking after an excursion to features. Her films seem like they are coming from someone who has experienced feature work and returned to short film for the unique and limitless possibilities it
possesses, and Shalimar Preuss uses every single frame to full effect. Shalimar Preuss, currently living and working in Paris, has both French and Canadian citizenship. From 2004-2006 she studied Art and Film in the USA, as well as in France at Le Fresnoy – National Studio for Contemporary Arts. Her first feature, Ma Belle Gosse screened at IFFR in Rotterdam, Bafici, IndieLisboa, etc. and was awarded Best French Film at Belfort in 2012 before being released theatrically in France. Shalimar Preuss will be present at the screening to talk more about her filmmaking.

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Intro: Chile Now!

Now! is a series of programmes devoted to bringing together new films from regions that otherwise have a hard time reaching our screens. The programmes aim to deal with hot topics and current state of affairs, told from an insider’s point of view.
“The search for an alternate vision of pre-displayed reality brings together seven short films that try to find meaning within the outskirts of Chilean society. Urban landscapes, queer subcultures, and virtual violence are explored through the textures of imperfection. Fictionalised fragments of a possible future meet found footage of adolescent angst and animated digressions. In Chile Now!, we navigate through the different relationships that people have towards the images that they create and those that they cannot control.”
– Elisa Leiva, CinemaChile

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Intro: Funny Finland

Finnish short film has always had a strand of self-deprecating humour, but an Oscar nomination and win at the Sundance Film Festival in the early years of this decade gave the Finnish short comedy a well-deserved boost. This programme includes those transatlantic smash hits, as well as films that, frankly speaking, should probably stick to these shores. This eight-course – and sometimes very coarse – meal is jam-packed with more or less subtle – well mostly less – hilarious takedowns of sensitive issues of language, gender, politics, and national character. Political correctness is its first victim. It won’t be its last. You have been warned. Uppsala has a large Sweden Finn population (approx. 16,000), and the Sweden Finns are one of the five national minority groups in Sweden. The programme is produced with support from the municipality of Uppsala, Finnish administrative area. Subtitled in English for the Finnish-impaired.

 

Suomalaisissa lyhytelokuvissa on aina ollut häivähdys itsestään pilkkaa tekevää huumoria. Oscar-ehdokkuus ja voitto Sundancen filmifestivaaleilla vuosikymmenen alkupuolella nostattivat kuitenkin suomalaisten lyhytelokuvakomedian tekijöiden itsetuntoa ja antoivat hyvin ansaitun sysäyksen tehdä laadukkaita ja menestyksekkäitä lyhytfilmejä. Uppsalan lyhtyfilmifestivaalin ohjelma sisältää sekä Atlantin toisella puolella menestyneet hittifilmit että filmejä, joiden olisi kenties ollut parasta pysyä pohjoisilla metsämailla. Nyt näytettävä kahdeksan lyhytelokuvan paketti on täynnä mitä hulvattomampia ja hurjempia kuvauksia kielestä, sukupuolesta, politiikasta ja kansallisluonteen erikoispiirteistä. Poliittinen korrektius on festivaalifilmien ensimmäinen, mutta ei todellakaan viimeinen, uhri. Ei heikkohermoisille! Uppsalan väestöstä on n. 16 000 asukkaalla suomalaiset juuret. Ruotsinsuomalaiset ovat yksi Ruotsin viidestä kansallisesta vähemmistöstä. Ohjelmaa tuetaan Uppsalan kunnan suomen kielen hallintoaluevaroin. Tekstitetty englanniksi suomea taitamattomille.

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Intro: Margaret Tait

Margaret Tait (1918-1999) stands out as one of Scotland’s most innovative and stridently independent filmmakers. Although her work was relatively unknown during her lifetime, recent years have heralded a more widespread acknowledgement of her significance across several areas of the arts in Scotland – film, art, poetry. This programme, part of a wider series of screenings and events marking the centenary of Tait’s birth, showcases the full breadth of work produced by this extraordinary filmmaker. Drawn from over thirty short experimental films produced by Tait during her lifetime, this selection of films form part of the body of work Tait referred to as her ‘film poems’. Filmed across the two places Tait lived and worked for most of her life, Edinburgh and Orkney (Tait’s place of birth and one of Scotland’s most northerly isles), Tait’s films capture the people and places she was familiar with. Celebrations of the everyday, the films approach their subjects with great intimacy, unraveling the mystery of the commonplace through details of the everyday often overlooked.
– Sarah Neely

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Intro: Afghanistan Now!

Now! is a series of programmes devoted to bringing together new films from regions that otherwise have a hard time reaching our screens. The programmes aim to deal with hot topics and current state of affairs in times of turbulence, told from the insider’s point of view “In times of chaos, it is hard to find only one truth. A combination of different points of view can give a richer insight into the narrative that we are trying to
understand. These are films made with little resources and facilities. They do not excel in techniques but are genuine and have a personal approach. This allows us to enter into the insight of some of the complex issues of the Afghan society today.

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Intro: Adventures in Remix

Moving images are everywhere — streaming to our TV sets and filling up our social media feeds. From animated GIFs to ads to live-feed critter cams, these images shape our experience of contemporary life and inform our understanding about the historical past. This raises new questions about the ways filmmakers appropriate and remix preexisting images. Unlike the experimental works of ”found footage,” recent remix films
both exist within and respond to a postinternet world of mass-image circulation where “footage” is not something rare that needs to be unearthed but ever-present. This is a group of works that grapple with shifts in the spread of media since the internet and that represent new formal and technical strategies of appropriationand remix.

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Intro: Gunvor Nelson

“The natural flow of the Western eye is left to right, which makes right to left motion have more power,” says Gunvor Nelson. Born in 1931 and raised in Kristinehamn,
Sweden, Nelson moved to the USA in 1953. In collaboration with Dorothy Wiley, she
made her first film, Schmeerguntz, in 1966 while immersed in the San Francisco Bay
Area’s lively experimental film culture. In addition to filmmaking, Nelson inspired new generations of artists while teaching at San Francisco State University and San Francisco Art Institute. Nelson moved back to Sweden in 1993, where she resides to
this day. With her unique style of personal and poetic filmmaking, Nelson is one of
the main protagonists in avant-garde filmmaking from the 1960s to today. Her works touch both the imagination and the physical body. Through the use of repetition in her works, she empowers herself and the viewer to get back to one’s most urgent needs. She’s been the recipient of numerous major awards and grants, including most recently the Swedish Arts Grants Committee’s Grand Award. In 2008 Nelson was awarded an artists lifetime income guarantee by the Swedish Arts Grants Committee. Her films have been screened at major art museums as MOMA in New York, Moderna Museet in Stockholm and cinematheques in Europe and North America. A focus on Nelson’s work is vital because, in its entirety, it can be seen as a nucleus of an artist’s understanding of inscribing oneself in history.
Gunvor Nelson will be present at the screening.

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Intro: R*evolution!

R*evolution is four programmes about change, necessary change. They track the wild tendencies and radical strategies associated with the movements around 1968. The evolution of the revolution is traced through the five decades leading us up to the here and now. If you look closely, they lead us even further beyond, into possible futures of the revolution. 1968 marks a turning point. A postwar generation was calling the shots.
A worldwide whirlwind of questioning the status quo followed. Second-wave feminism was on the uprise. Diverse elements of the public opposed the ruling conservative patriarchal practice, longing to have a say in shaping the world. 1968 equals lateral thinking, dissent, objection, and counter-questioning. It is common knowledge that the world has changed in 50 years, but despite this we need to discuss strategies of empowerment, battles of distribution, and the possibility of the participation of the individual. We demand taking part in the narrative, in historiography, and to thus receive recognition and visibility. R*evolution also takes a special look at Swedish filmmaker Gunvor Nelson. She’s one of the most charismatic and important filmmakers to come out of the 1960s, influencing generations of filmmakers. She interlaces the private and political gaze in her artistic practice of decoding. R*evolution offers aesthetic strategies –
inviting for a time travel in order to see today’s pop culture with a red eye. By taking a close look at the time, R*evolution presents aesthetic, political, feminist, and cinematic positions united by the belief that there is more than one truth, existing beyond the conventional, ruling narrative. Realism is magic, a deeply subjective understanding of the world is a strategy and leads to the conclusion: that film might be the far better weapon. Film is the most exciting medium of the 1960s. As evidenced by these programmes, until today it has not lost any of its explosive force. The programme Red Flags For Everyone was originated for Berlinale 2018. Maike Mia Höhne has curated Berlinale Shorts since 2007 and is a freelance writer, curator, producer, photographer
and director. From March 2019, she will be artistic director at the Hamburg International Short Film Festival.

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AUDIENCE FAVOURITES

The audience has voted for their favourite film in the International Competition. This programme presents a selection of the result, including the winner of the Audience Award.

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AWARD WINNERS

This is a selection of the award winners in the International Competition and the Children’s Film Festival. Which ones is a secret until the Award Ceremony on Saturday evening, October 27th.

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Cat Video Festival

A dreamy glance into the camera, a daring jump out the window, a paw running smoothly over whiskers: often small things are enough to make a Youtube hit out of a cat video. Cats took over not only the internet but also our hearts. No human
can ever break the iron will of a cat. They defy gravity, ignore the rules of decent
behaviour, and make the world their own special playground. With “Cats Just Wanna
Have Fun!“ we present a program in five CATegories featuring the funniest and
coolest feline celebrities, as well as some of the hottest (cat) music videos. Besides
stars like Lil Bub, Henri, le Chat Noir, and Keyboard Cat, the program also contains
home videos featuring cats from all over the world, as well as short films that
premiered at international film festivals. The first Internet Cat Video Festival took place in Minneapolis (USA) in 2012. Over 10,000 feline fans attended the event organized by the Walker Art Center Minneapolis. In 2016 Will Braden, director of the Henri, le Chat Noir videos and first Golden Kitty Award winner, took over and established the CatVideoFest, which has since toured the world. In 2013, the wildly popular internet phenomenon took Europe by storm with the Cat Video Festival Vienna. “Cats Just Wanna Have Fun!” is a touring program by the Vienna Shorts Agency in collaboration with CatVideoFest (US).

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TWO RIDERS (WIP)

The two scenes screened from this work-in-progress take place in a remote mountain village where Marceau, 17 years old, is mad about his newborn brother Ange. Throughout the years, the two grow inseparable. Marceau becomes the best wrestler in the country until his younger brother challenges him. Loosely based on Jean Giono’s eponymous novel, the project brings together two filmmakers: Delphine Balley and Shalimar Preuss. Their intent is not to co-direct the film but rather to each render in separate chapters their own personal perspective and impression, hoping to enter into an enriching filmic dialogue with each other. This twofold approach to narrative cinema is set in the Vercors, a French pre-Alp mountain range, where both filmmakers and their cast of non-professional actors live.

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HELSINKI MANSPLAINING MASSACRE

An intensely hysterical horror comedy about one woman’s desperate struggle to survive a horde of men with frail egos who just want to explain everything to her. But the biggest horror may be closer to her than she thinks.

 

Kauhua ja satiiria yhdistävässä kujanjuoksussa nainen yrittää selvitä mieslaumasta, joka haluaa selittää hänelle kaiken.

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FRACASADA

Claudia is a transvestite activist during the day. She studies social work at the university, marches on her own, organizes talks, and uses her body to conquer herself. Claudia knows that despite all the years she has put into her career, she will never be able to be a part of any institution, though she says she doesn’t care. She talks constantly about her mother who, unable to read or write, creates her own perceptions of the world. This makes Claudia search for her own interpretations.

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THE REMEMBERED FILM

Young soldiers from previous wars are roaming through the woods. In interviews, they share war memories they cannot possibly have experienced themselves but which have taken root in their memory. Thus, the connections between war and spectacle, history and representation, reality and imagination unfold.

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THE TASMANIAN TIGER

A Tasmanian tiger wanders around in his zoo enclosure. A glacier is slowly melting. Facing its predicted disappearance, nature exerts its fury, bursts out of the frame, and resists its extinction by transformation.

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FAUVE

Set in a surface mine, two boys sink into a seemingly innocent power game with Mother Nature as the sole observer.

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PUPPET MASTER

A lonely woman, yearning to be caressed, allows a man to transform her into a puppet. In this fantasy actors and puppets are combined in a poetic story about longing for love, living in an objectifying relationship, and clinging to another person.

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GOVERNMENT HOUSE

A phantom-like figure moves through a luxury housing block in Moscow, built around 1930 for Stalinist officials. Light and shadow fall into spaces as vibrations pervade everything and echoes from hauntedhouse movies break through.

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SKIP DAY

Intimate glimpses of one very special day in the lives of high school seniors from an industrial corner of the Florida Everglades: prom is over, the future is uncertain, and the irresistible pull of the beach makes the long-time friends drive 60 miles to chill, pose, and revel in the waves.

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THE WHITE ELEPHANT

This film utilizes videos from the 1990’s found on the internet to craft the fractured semiautobiographical narrative of a Palestinian teenager pondering love in the time of the Oslo Accords. Bursting with images, sensations, and perspectives, Harb’s work offers inklings of the First Intifada that vie with references to the Israeli trance music scene and Dana International—the Yemeni-Israeli pop sensation and first trans person to win the Eurovision Song Contest.

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FALLING SKY

One of a cycle of works that source imagery from a Taiwanese YouTube news agency, this film elegantly depicts a bizarre, CG reflection of our world and its eco-system on the edge of collapse. Meteorological irregularities, airborne toxicities, and a natural world gone wild are rendered in crude computer animation that is alternately uncanny, hilarious, and horrific.

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THE GARDEN OF DELIGHT

Inspired by the triptych The Garden of Delight by Hieronymus Bosch, this hand-manipulated collage film made entirely out of 35 and 8mm found footage explores the marriage between beauty and evil, heaven and hell, and the irresolvable endless conflict that goes with human nature.

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AMOR, AVENIDAS NOVAS

Lisbon, 2017. Manel is twenty years old, lives on Avenida Almirante Reis, and idealizes love inspired by the relationship of his parents. Out of compassion, he hands over his double mattress to Nicolau and his girlfriend, who returned to Lisbon.

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SEASON OF GOODBYES

”The seasons had not decided on their endings and beginnings, so we lived in the space between.” A letter to a loved one exploring the unity and separation that comes with life and loss.

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VIRGINS4LYFE

It is the last night of 14-year-old Astrid’s and Issi’s holiday by the beach. The mission is clear, especially for Issi: to find a guy and hopefully lose her virginity before the holidays are over.

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OUR SONG TO WAR

This might be the beginning of a very long story, where spirits and humans meet each other to learn what there is to life after the end of war.

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WHILE I YET LIVE

Five acclaimed African-American quilters from Gee’s Bend, Alabama talk about love, religion, and the fight for civil rights as they continue the tradition of quilting that originally brought them together.

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THE YEARS

A woman gives voice to Annie Ernaux’s text, The Years, through a few collected fragments from the shores of a timeless Sardinia. Neither the words nor the images, drawn from family films, are expected to complete the narration of her story: places from her past. The mountains on the coast, a seascape, gardens, terraces, and rooms of an apartment emerge like reflections of a fragmented and ever-changing memory, uncovered by a new light. The details in each gesture and each face, of scenes of a life lived amongst family, are reassembled and freed from their original context. They become expressive elements of a confession that is both a personal discovery and collective narration.

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CIRCLE

A haunting portrait of a rape survivor, caught in the devious ploys of her family. Through the poignant and personal story of 13-year-old Khushbu, the film explores her gang-rape and the emotional abuse at the hands of her grandmother. Where does the circle begin? And can there be any way out?

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32-RBIT

My grandmother was convinced that the only animal that made the same mistake twice is the human being. A short essay film about my very own Internet, a parallel world where memory loss, errors, surveillance, and addiction taint everything and everyone.

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WHERE WE ARE HEADING

Paris, 2017: A new president is elected in the spring, and the state of emergency continues. He prowls through the capital, on the lookout among old and new monuments. As the city struggles to regain its innocence, it slips gently into everyday life as well as into the lines of the constitution.

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PRISONER OF SOCIETY

What does it mean to be a stranger in your own home and country? This film is an intimate journey into the world and mind of a young transgender woman, trapped between her personal desire for freedom and the traditional expectations of her parents that threaten their unity.

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CEVA

Everything avoidable during one’s lifetime might later become the building blocks of the afterlife. Here, fears have to be faced and journeys taken alongside one’s shadow.

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BAVURE

The film portrays the evolution of a human being, from his creation to his awareness of the mysteries of the universe. It is a metaphor for the creation of the world and a parable of the artistic process.

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I SIGNED THE PETITION

Immediately after a Palestinian man signs an online petition, he is thrown into a panic-inducing spiral of self-doubt. Over the course of a conversation with an understanding friend, he analyses, deconstructs, and interprets the meaning of his choice to publicly support the cultural boycott of Israel.

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PARSLEY GIRL

A lot of data such as documents, sounds, pictures, and moving images from the Internet is gathering to enact on old folk tale. They tell their own story (about copyright-free sources) through which the story of a girl’s independence from the beings that claim to be her master is told.

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THOSE WHO DESIRE

In the south of Spain, a race of colourfully painted pigeons rewards not the one who flies the fastest, but the one who knows how to seduce a female pigeon and to fly the longest time at its side.

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BURKINA BRANDENBURG KOMPLEX

A presumably African village, inhabited by Germans. This film describes a geographical construction that makes use of ‘our’ medial and collective image of Africa and puts it to the test through inaccuracies. An archaeological find is made in a mine: a Ferrari. We tag along with Joachim on his everyday rounds. He has his heart set on realising a common energy project. The Museum of Prussian Cultural Heritage is run by a black woman. She presents artefacts from Western consumer culture with a special emphasis on German products. Joachim is involved in the ritualistic production of energy in the village but gets excluded when the ceremony is nearing its finale, finally catapulting himself out of the ‘story/history’.

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IMPERIAL VALLEY (CULTIVATED RUN-OFF)

The Imperial Valley represents one of California´s most important regions of industrial agriculture. Corporate agricultural production interests have been able to successfully cultivate and exploit this geological part of the Sonora desert.

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EGG

A woman is locked in her home with an egg, which she is both attracted to and scared of. She eats the egg, and she regrets it. She kills it. She lets the egg die of hunger.

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ØYET I DET HØYE

A portrait of a young woman named Selma. She has to go back to the small island where she grew up – a place she never really felt connected to. While back, Selma meets former friends and acquaintances and is unwillingly confronted with her past.

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WISHING WELL

Gushing colors. A time disjointed, yet synchronous. A transcendent turn, a quest for agency, a reunion with currents of the forest.

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THE FALL

As celestial beings descend to Earth to corrupt and pervert its population, the world’s order unbalances. This tragic fall leads to the birth of crucial opposites: the circle of Hell and Heaven.

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BRICKS DON’T MOVE IN THE WIND

Annabelle’s life is quite perfect. Annabelle just never had a boyfriend. Annabelle thinks she deserves to have someone she could do romantic things with. But Bryce picking her up with his vintage Volkswagen was probably the most romantic moment in Annabelle’s life. Annabelle met Bryce on Instagram.

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HAUNTED

A suburban mother who rarely sees her filmmaker son suddenly encounters a ghost outside of his childhood bedroom. He pays her a long overdue visit to explore the mystery of the visitation and of why his family has drifted apart.

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3RD BUILDERS’ STREET

This film focuses on the concrete panel houses which appeared throughout the Soviet Union from the 1960s. Despite the fact that most “Khrushchovka,” and following generations of panel houses, are nowadays in a poor condition, the past “future-oriented” ideology is still tangible.

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HOLY TREMOR

The film addresses the recent wave of evangelism dominating the public debate in Brazil. It concentrates on the different social and aesthetic aspects of Gospel music produced and performed by a young generation of singers who see in religion a new form of entrepreneurship.

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MOMENTUM 142310

The Momentum series deals, on one hand, with spaces refracted by textures, and on the other with the projection of them, their temporality and afterimages which can be seen within a frame of 30 frames per second by switching between two states of spatial folding.

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DESTINATION NOWHERE

One day in Japan, a young man found out that the place he had thought of as his home country has rejected him. The film is a mix between an artist’s process of making a new work of art and a story of a young man who inspires the work. It is also a story about Thailand, Japan, and the space in-between.

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TO PLANT A FLAG

In preparation for the moon landing in 1969, NASA sent a team of astronauts to the lunar landscapes of Iceland. Their hi-tech training mission soon discovered what obstacles one can meet when facing an Icelandic sheep farmer.

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BEAUTY

This film explores the lives of five gender-creative kids, each uniquely engaged in shaping their ideas of what it means to be fully human.

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MOUNTAIN PLAIN MOUNTAIN

Deepening confusion becomes a delightful experience watching this collaborative film by Daniel Jacoby and Yu Araki. Sound and rhythms take centre stage in this observational documentary on Ban’ei, a rare kind of draft horse race that takes place only in Obihiro, Japan.

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WELCOMEOUT

A no-budget film about the WelcomeOut pride festival 2017 organised by the LGBTQIA+ community in Uppsala and directed especially towards asylum seekers and immigrants in Sweden. The film traces the three days of the festival through the voices of the organisers and participants culminating in a euphoric celebratory march.

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A KISS

A forever-single philematology postgrad has never been kissed. Before handing in his thesis on kissing, he hires an escort to put theory into practice, but kissing is the one thing she won’t do.

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BEHIND THE WALLS OF SILENCE

An intense documentary where we get to follow four individuals, two women and two men, from the poor regions of south Tehran, Iran. They share their stories of how it is to live in a neighborhood where HIV and drug addiction is far more prevalent than in other parts of Tehran.

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COME ON, BITE ME

A black cat is playing under the pine trees. Suddenly someone is calling her name. She goes home and finds her human in distress. She comforts her the best she can. Their hearts synchronize, and peace is restored. But can two hearts beat in the same pace forever? What happens with love if they can’t?

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BLATTEN

A young woman takes matters into her own hands after events over the course of one traumatic night in Stockholm.

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ICONOCLASM

A experimental look at day, space, and night. Free to be interpreted as anything and nothing. Inspired by Stan Brakhage, David Lynch, and Kanye West.

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THE BUS BOY

Teo Wennertorp, 13 years old, has a special interest in buses. While other teenagers might be into playing video games, Teo spends all his time completing his ultimate goal: to ride all of the bus lines in his region.

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THE LOST HEAD & THE BIRD

A disorientating and absurd world on the fringes of contemporary India where the boundaries between fact and fiction blur, and the undercurrents of caste, sexual, religious, and political violence lurk beneath the surface, erupting in ever more frequent outbursts.

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COYOTE

A coyote loses his wife and children in a wolf attack. Tormented by human emotions, he tries to process the experience. Besides grief and delusion, evil takes up more and more space.

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BRICKS DON’T MOVE IN THE WIND

Annabelle’s life is quite perfect. Annabelle just never had a boyfriend. Annabelle thinks she deserves to have someone she could do romantic things with. But Bryce picking her up with his vintage Volkswagen was probably the most romantic moment in Annabelle’s life. Annabelle met Bryce on Instagram.

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GIFT

A modern ballad of an old man and his grandson. In a distant corner of Transylvania, at the far end of an almost empty village, in a tiny little house, a lonely old widower has given up on life. A bus winds its way through the snowy landscape, bringing a surprise Christmas visitor.

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OCTOBER BOY

Fourteen-year-old Thomas has just moved to the city and wants to be popular in his new school. He finds out that the pretty girl in school is a way to achieve popularity, but Thomas cannot understand his feelings, how to act around his new friends, or how to control the lies he has created.

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JIEJIE

Embarrassed by her un-American look, Fen betrays her younger sister on their first day at church, fueling the first outburst since their immigration.

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YOVER

Yover is barely twelve, but he must work. Every day he rides the streets of the new Bojayá, a village that survived one of the bloodiest massacres of the war in Colombia. He steals minutes of fantasy and play, which belong to the world of children.

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TWEENER

The film follows 13-year-old wrestler Jaana and her best friend Bettan. Jaana’s goal is to advance to the more experienced group. Their relationship changes as Bettan starts focusing more on life outside the wrestling club. Jaana has to choose between following her best friend and following her goals.

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CAT DAYS

Jiro, a little boy, feels sick. His father takes him to the doctor. She diagnoses him with a harmless condition, but it shakes the core of the boy’s identity.

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THE HYMNS OF MUSCOVY

A trip to the planet Muscovy, which is an upside-down space twin of the city of Moscow. The camera travels through 20th century architectural styles in the capital accompanied by variations on the musical theme of the Soviet national anthem.

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THIS MY FAVORITE MURAL

A German amateur filmmaker becomes infatuated with a tire shop’s mural. She decides to find the artist who painted the mural and make her first documentary film. The more she investigates the mundane subject, the further she gets tangled in a web of tire shop mysteries.

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CADAVRE EXQUIS

Cadavre exquis invites us in to a visual, acoustic, and odorous ballad through the wanderings of a oneeyed dog. In the maze of Old Hanoi’s narrow streets, daily life and legend mingle to the syncopated rhythm of Hat Xam, the Vietnamese blues.

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COPS ARE ACTORS

Somewhere in the hills of Los Angeles we meet four actors who portray the police profession through narrative and staging.

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STRAIGHT UP

Marcel admires himself in the mirror. When his girlfriend Jocelyn wakes up, Marcel wants to teach her yoga, but instead Jocelyn wrestles him to the bed and Marcel is challenged to accept something new about himself.

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UMBRA

A few minutes after midnight, the young lady realizes that her partner disappeared after they had sex. Worried, she goes out to seek her partner in the darkness of the streets.

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THE LITERAL ZONE: EXHIBITS A-J

Consisting of ten brief episodes, this film revolves around the figure of the refugee in modern history, juxtaposing the ongoing so-called refugee crisis with what migration scholars have begun to describe as a “forty-years crisis” in the beginning and middle of the 20th century (ca. 1919–59).

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THE BEAR

A successful career woman becomes fed up with being a human being, buys herself a bear suit and emigrates to the wilderness. When civilization finally catches up with her, she has to choose which world she belongs to.

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GÖTAPLATSEN

A film about the predominant whiteness in cultural spaces. But which words should be used to avoid reproducing the stereotypical portrayal of people of color?

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PRISONER OF SOCIETY

What does it mean to be a stranger in your own home and country? This film is an intimate journey into the world and mind of a young transgender woman, trapped between her personal desire for freedom and the traditional expectations of her parents that threaten their unity.

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III

A man and a woman meet in a waiting room and immediately get closer to each other. They commence a game that gradually gets more and more ferocious. Their faces resemble masks while shapes slowly lose their meaning.

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THE SECOND SHORE

Close to death and close to life. Mona, Andreas, and Iki are telling their stories of close encounters with their own mortality. In this animated documentary, their fates are intertwined on a dark beach. The documentary is based on in-depth interviews and the director’s own experiences.

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FUCK YOU

Alice is together with Johannes, but she doesn’t have enough space to be herself. On a night out with friends, she steals a strap-on and challenges her boyfriend’s thoughts about girls.

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BRITNEY

This film is rooted in the desire to offer its character a real place in the world. To invent this new space, the director describes her return to an abandoned house. The film looks at the shape of this failure, which lies in front of the audience.

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KILL THE RICH

Two characters are discussing whether a world in which each day the richest person would die would be a utopia. As the story moves forward they try to put their ideas into practice.

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THE RUGBEATER

Who is Sweden’s best athlete throughout the ages? This film is about how we measure performance. My grandmother could beat rugs so that golf champion Annika Sörenstam would be green with envy. She had a swing that was mentioned with awe throughout the city of Landskrona.

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I RELY ON THE CLAY BEING SOLID

This is a film about an abandoned site in the forest and its history through the creative world of a ceramic artist. The past, present, and future are presented in relation to clay, to our time on earth, and to our awareness that we are just one in a row of ancestors living for a short time in this universe.

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LEAKING BLUE

A mother looks for her son in a hospital bed. She finds her daughter instead. Among shores and tides, blue leaks from the core.

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CALL OF COMFORT

“Please agree to terms and conditions to be a part of the Community,” says the Big Data crystal ball as it bathes you in positive affirmations and hyper-personalized ads, “All for your own benefit, of course.” Feel your body becoming heavy and relaxed, and just say, “Yes!”

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KEVLAR

Camilo, a guy from the wrong side of the tracks, sets his sights on city girl Amina. He borrows his friend’s expensive jacket and approaches her, offering to show her the way. Later, at a party, when someone mistakes Camilo’s jacket for his own, it becomes clear Camilo will never be anything but a project kid to Amina.

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DARK CHAMBER

The Camera Obscura (Latin for dark chamber) is an optical device that led to the photographic camera. It consists of a box or a room with a hole on one side. This film is a reconstruction of an event that took place near the border of Austria and Hungary during the summer of 2015.

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THE ARTIST HAS A BABY

The male genius disappears into the world of creativity and inspiration, he sits isolated from the world for days, and through pain creates the perfect Art. But what happens to the artist when her body starts working for someone else, someone much bigger than the Art?

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THE CUP IS ALREADY FILLING UP

The film deals with the feeling of being chosen, and the responsibility that comes with being the Virgin Mary’s messenger. Using archival material, both images and text, a narrative is created from the children’s own experiences of the apparitions in Fatima, Garabandal, and Medjugorje.

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SCREEN

“While he mused on the effect of the flowing sands, he was seized from time to time by hallucinations in which he himself began to move with the flow.“ – Kōbō Abe

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WE OTHERS

Young in Sweden is a group of young Afghans who demand that deportations to Afghanistan cease. We follow Taha and his friends during their activism. In 2033, the Royal Theater will mount a play about Young in Sweden. The director, Abbe, must spark the interest of the all-white ensemble.

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BANANA PANCAKE TRAIL

Maya has kept away from Sweden for the past years and lives a wandering life in Southeast Asia without any intention of ever returning. But when she finds out the only person she’s still in contact with back home only has days left to live, she quickly needs to get enough money together to pay for a plane ticket.

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TO MY CARRIER

The film starts and ends as a love letter written to a wheelchair. The spoken letter, accompanied by a silent dance, reflects on personhood in relation to disability.

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GOVADAS

The film explores the contradiction and harmony between humans and nature through Sámi poetry. The cyclical perception of time among the only indigenous people living in the European Union is presented in the work as unfolding forms and layers based on archival material from the 1940’s and super 8mm film footage from the 2010’s.

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TERROR NULLIUS

Subtitled ”A Political Revenge Fable in Three Acts,” TERROR NULLIUS is a dazzling, kinetic, mishmashed beast of a film. One part revisionist documentary, one part LSD-infused YouTube compilation video, Soda_Jerk’s controversial film shatters old narratives, taking you on a rollercoaster ride into the dark heart of Australia. Simultaneously arthouse and grindhouse, this experimental sample-based film works entirely within and against the official archive to achieve a queering and othering of Australian cinema. The perils of hypermasculinity are overshadowed only by the enduring horror of Australia’s colonising myth of terra nullius. The Ian Potter Cultural Trust, which provided financial support for the film, chose to distance itself from the film’s promotion and marketing, deeming TERROR NULLIUS too controversial for their conservative tastes. This controversy should be seen as a badge of honor for such a satirical, confronting, and political work of art that pushes viewers to re-think Australia’s history and future. Soda_Jerk, formed in Sydney in 2002, is a two-person art collective who work at the intersection of documentary and speculative fiction. They are fundamentally interested in the politics of images: how they circulate, whom they benefit, and how they can be undone. Their sample-based practice takes the form of films, video installations, cut-up texts, and lecture performances. Based in New York since 2012, they have exhibited in museums, galleries, cinemas, and torrent sites.

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BERMUDA

When Jonna is told by her boss to be more friendly to the diner’s customers, she could never believe what that would result in. What at first seems like a polite conversation with the only guest quickly escalates to an unexpected turn of events.

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KUAP

A tadpole somehow misses out on becoming a frog and is left behind, alone. But there is much to discover in the pond, and spring is sure to come again next year. A little story about growing up.

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UNKILLED, CHAPTER 1

”Cause right now I’m just in a dark coffin with nothing. Unkilled.” It is Craig’s voice we hear from inside a detention centre for migrants in the UK. He has been detained for four years without knowing for how long he will be imprisoned. This film is a graphically animated documentary film.

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ERASER

A man steals a wooden fence from a tall residential building. A neighbour’s child falls down from the fence and dies. A man finds an eraser which fell from the pocket of the deceased child. He tries to confess his guilt to the deceased child’s father.

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THRUST

JUCK is a hybrid between documentary, dance, and fiction. The film depicts the all-female dance group JUCK who made a name for themselves in 2013 with a video that became a worldwide viral hit. “JUCK” is Swedish for “HUMP,” and their groundbreaking appearance poses the question: what is femininity?

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1981

Stockholm, 1981. A man convinces his partner to go with him to a sauna to get new sexual experiences with other men. The man finds the sauna to be a safe place where he can explore his deepest desires. But even in paradise there are rules that you have to obey.

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BIRDS IN THE EARTH

In this short film based on dance, the main characters are two young Sámi ballet students: Birit and Katja Haarla. The movie tells a melancholic story through their dance performances. At the same time it examines the deeper questions of the ownership of Sámi land.

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THE AMBASSADOR’S WIFE

We find ourselves in an extravagant garden in Ouagadougou. The French ambassador’s wife dreamed about becoming a famous opera singer. Instead, she now uses singing as an outlet in order to survive her seemingly privileged life surrounded by workers.

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GOOD TONE

A guest-lecturing documentary filmmaker is backed against the wall when a student breaks the silence surrounding her dubious depictions. The discussion about who is racist and who has interpreted the matter at hand erupts into a frustrating loop of questioning glances and bruised egos.

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RUSSA

Russa returns to Bairro do Aleixo in Porto to visit her sister and her friends with whom she will celebrate her son’s birthday. In this brief reunion, Russa returns to the collective memory of her neighbourhood where three of the five towers still remain standing.

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TWEENER

The film follows 13-year-old wrestler Jaana and her best friend Bettan. Jaana’s goal is to advance to the more experienced group. Their relationship changes as Bettan starts focusing more on life outside of the wrestling club. Jaana has to choose between following her best friend and following her goals.

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WHAT’S IMPORTANT NOW IS TO FEEL BAD

During a compulsory information meeting for unemployed people, the friendly face of a ridiculous, Kafkaesque bureaucracy exposes the truth behind unemployment. Unemployed people act as a deterrent to the rest of the population: they have to remain in their poorly paid jobs and continue consuming.

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FACING NORTH

Almost all the men in the village have left for greener pastures in Europe. A bride is torn between two possible futures. Through the support of her maid of honour, she navigates her past love and pending commitment.

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WINZIP SENSES

Like a correspondence, Vanja Sandell Billström and Reza Hazare create a collective view based on questions of privilege, responsibility, and how both memories and bodies are deformed by living under pressure as a result of stress and refuge.

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THE POWER GRID

A boy stands beside a power plant in the inland of northern Sweden. This is a personal film about growing up surrounded by rich natural resources. About the production of power, colonialism, and a feeling grown from seeing, seeing anew, and questioning the things that surround you.

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BLOODY MARY

Mary tries to score the famous rockstar Julien by pretending she is a Swedish music journalist. To her surprise she succeeds in getting into Juliens suite. Mary thinks sex is on, until a monthly surprise turns up.

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CAUCASAS

Tekle and her young daughter, Ema, return from abroad to visit Dalia, Tekle’s mother. When Ema goes out to walk her dog, Dalia, fearing something terrible might happen to her granddaughter, starts looking for her.

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CAT HATRED

Two rats, a father and his son, live in a suburb of Stockholm. One day they find a cat in their home. The father throws it out, but more cats start appearing. This makes the father increasingly angry while the child starts to get fond of them.

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THE MARTYR

Asia lives in a suburb of Stockholm with her two children, Omar and Sara. Asia begins to suspect that Omar may have been radicalised. In despair, she tries to find out what’s going on in his life. When the police turns her down, Asia needs to save her son before losing him forever.

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