4:30 min / sound
Fadly Sabran, Malaysia

“Time” is a major subject in the world of science, philosophy and art. The notion of time has changed with the use of technology such as television and the internet, creating new opportunities to use the time in different ways. In this video, I try to explore the basic concept of time in everyday human life. With black and white images, I’m imagining around on how time is appreciated, evaluated and respected. “By time… Indeed, mankind is in loss… Except for those who have believed and done righteous deeds and advised each other to truth and advised each other to patience.” (Surah Al Asr : 1-3)

3:45 min /sound
Haruka Mitani, Micheal Lyons, Japan

This hand-made film acts as an optisonic exploration of a world of primordial shapes created through various chemical treatments of a Super 8 emulsion. The sonic counterpart was made using a generative patch on an analogue synth, with voltage inputs from light sensors on the projection screen – the film itself steering the dynamics of sound synthesis. “Everything existing in the universe is the fruit of chance and necessity.” (Democritus)

06:00 min / sound
Onyeka Igwe, UK

Her Name in My Mouth, revisions the Aba Women’s War, the first major anti-colonial uprisings in Nigeria, using embodiment, gesture and the archive. The film is structured around the repurposing of archival films from the British propaganda arm, The Colonial Film Unit, cut against a gestural evocation of the women’s testimonies. Her Name in My Mouth invokes the artist own female ancestors in this filmic revocation of the Aba Women’s War that privileges the body as a site of knowledge.

4:00 min / sound
Ivelina Ivanova, UK, Bulgaria

Snaps of everyday human interactions assembled in a rhythmic montage that explores the relationship between men, architecture and nature in the context of Bulgarian post-socialist residential neighbourhoods.

12:20 min / sound
Patrick Buhr , Germany

“You are here, because you are boring. Let the audio-visual experience sink into your subconscious in order to become more exciting and fashionable.” (*This film is part of the program “Emerging Artists – Contemporary Experimental Film and Video Art from Germany” by AG Kurzfilm – German Short Film Association and German Films)

04:28 / sound
Katya Yakubov, USA

As image-makers, we often photograph without purpose, out of compulsion or curiosity or sheer pleasure of seeing reality through a different prism. These personal archives of images begin to pile up and spill out of hard drives. The Landing was a way to ask these ungrounded images, separated by time and intention, to dance with one another—a cannon ball’s messy trajectory from sky to earth, collapsing its subjects into a fortuitous whole, while holding each blinking frame as separate.

07:09 min / sound
Kotaro Tanaka, Japan

We live under various regulations. Procedures to defend rights of another occur strange phenomena. The more we hide something, the more we want to see it. Another meaning occurs by hiding something but it doesn’t occur from something hidden, it occurs from the activity to hide something.

1:22 min / sound
Okui Lala , Malaysia/Thailand

The chant is a blessing for family members and harmonious relationships: Pa Im is chanting in Thai and Teochew. Okui is chanting in Mandarine and Teochew. Pa Im speaks mostly Thai; she speaks Teochew only with her mom and sister nowadays. Okui speaks various languages, but speaking Teochew reminds her of her grandparents in Penang, Malaysia.

20:00 min / sound
Nobuhiro Shimura, Japan

“Japanese Cattle” filmed by 8mm black and white film focuses on cattle bred on the island of Mishima in west Japan. Mishima cattle, a protected species on account of their status as pure Japanese cattle that have never been crossed with imported breeds, were once used for draught purposes. In the film, images of the cattle and of peaceful scenes on the island and audio of farmers reminiscing about working alongside the cattle are combined. Despite the fact the footage is of contemporary Japanese events, the black and white film along with the distinctive dialect used by the farmers leave the viewer feeling increasingly vague as to the time and place. The film aimed to look back “now” from the future nostalgically. From the landscape that looks as though it has been left behind by globalism there looms both something lost and something immutable. In 1928, Mishima cattle were named as national monument.