Program V available for 24 hours -

from 00:00 to 23:59, May 26 - Moscow time /
from 5pm, May 25 to 4:59 pm, May 26 - NYC time

The Tree House

by Minh Quy Truong, Vietnam, 2019, 89’

A filmmaker lands on Mars in 2045. How could he make a film in a land where he has no memory of? “Home…Far away from home”, he recalls faces of people, thus a collection of moving images emerge.

Some films from programs I-IV are still available till 

May 27, 0:00 Moscow time (UTC +3)

They Parlaient Idéale

by Laure Prouvost, France, Belgium, Italy, 2019, 29’

They Parlaient Idéale reflects on what it means to be a citizen of a nation, especially when one's identity is rather ambiguous. A cross-generational and interracial cast of performers embark on a road trip from Grigny, a suburb of Paris, to the French pavilion at the Venice Biennial. Edited in Prouvost's signature feverish style, she seizes the viewer's attention by her singular use of wordplay and cheeky political commentary.

The Tortoise and the Hare

by Pikkov Ülo, Estonia, 2020, 9’

A story of a mother and son and the race against a turtle where you always lose.

Spontaneous 

by Lori Felker, USA, 2019, 14’

You never know when someone is miscarrying; it could be happening right next to you.

My Galactic Twin Galaction

by Sasha Svirsky, Russia, 2020, 7’

Good and evil, utopia and dystopia, narrative and post narrative collide in a mortal battle for fun to the audience.

*available only in Russia

Blue Honda Civic

by Jussi Eerola, Finland, 2020 11’

The romantic landscape paintings often portrayed weather condition, topography of national landscape, religious themes, spirituality of nature and hunting scenes.
Blue Honda Civic is a minimalistic road movie mirroring the emotions of the driver through the landscapes (s)he has chosen to look at.

Rise

by Bárbara Wagner, Benjamin De Burca, Canada, 2019, 20’

In the underground spaces of the Toronto Transit Commission’s (TTC) new subway extension, a group of poets, rappers, singers, and musicians negotiate their status as both first- and second-generation Torontonians as well as settlers living on borrowed Indigenous land. Featuring participants from R.I.S.E. (Reaching Intelligent Souls Everywhere) EDUTAINMENT—an event that takes place weekly in Toronto’s suburban community centres—RISE adopts the concept of Edutainment as a tool for the film’s structure and script. 

Blue 

by Ann Oren, Germany, 2019, 5’

How to overcome the locked-in syndrome of the computer screen? A meditative reflection on the urban jungle with the color blue as the main protagonist. It is the third installment in an ongoing series of Ann Oren's Video Journals.

Ink in Milk 

by Gernot Wieland, Germany, Austria, 2018, 12’

Twelve minutes unfold a whole life: in sketches, metaphor-rich picture sequences, drawings and sculptures, Wieland resurrects the disturbing world of a child, tells of darkness in the light; of the illness schizophrenia. Mixing different materials is a central motif of Wieland's painting, both as a visual artist and filmmaker.

An Apple, Three Toasts, a Yoghurt

by Anita Čeko, Croatia, 2019, 8’

An apple, three slices of dry toast, a yoghurt, and an athletic track from the director's very old diary entries evoke in her memories of important moments in her life.

Do It Again 

by Curtis Miller, USA 2018 9’

A meditation on anticipation and falling, Do It Again combines three moments of shared looking at Chicago's Marina City; the climactic scene from Buzz Kulik's The Hunter, a re-enactment for an All-State commercial, and a tight-rope walk of Nik Wallenda.

Tell me

by Azar Saiyar, Finland, 2019, 7’

A narrator asks: “Do you know this bird?”. The video quotes both public and private archival images in which birds are in the centre – birds as individual living beings but also as creatures habiting the world and stories created by humans. 

The Mermaids, or Aiden in Wonderland

by Karrabing Film Collective, Australia, 2018, 27’

Aiden is one of the stolen generation, now he has come back, in order to wander the land, and find the future in his past. When he is forcibly expelled from “the institution,” he wanders a country in ruins. He finds state workers in hazmat suits hunting down Indigenous youth in order to return them to “the mud,” a bubbling inferno of tubes and pain.

"We are delivered to the end of the world, with eternal fracking fires burning, hospitals filled with the dying. While it is never explicitly stated, indeed much in this experimentalist fable is inferred, or else tossed off in mysterious asides, the sickness is capitalism. The fable tells the story of Aiden, who was stolen from home at an early age, so he knows little of his culture, and can barely recall his family. This film is a journey of reclamation, a way to step back into some of the traditions and practices that have been taken away.

Karrabing Film Collective (established 2013, Australia) is a grassroots Indigenous media group consisting of over twenty members. They approach filmmaking as a mode of self-organization and a means of investigating contemporary social conditions of inequality. Screenings and publications allow the Karrabing to develop local artistic languages and allow audiences to understand new forms of collective Indigenous agency. Their films represent their lives, create bonds with their land and intervene in global images of Indigeneity." - Mike Hoolboom. 

Read full essay about the film at http://mikehoolboom.com/?p=20937

California on Fire

by Jeff Frost, USA, 2018, 25’

California on Fire utilizes time, sound, and the catastrophic effects of climate change as a backdrop to examine loss. Each of the film's five chapters are based on the stages of grief: denial, anger, bargaining, sadness, and acceptance. To create California on Fire, artist Jeff Frost trained as a firefighter, gained full access to more than 70 wildfires, and shot over 350,000 photos from 2014 to 2019. It has been featured in PBS Newshour, TIME Magazine, National Geographic, and Artnet.

Engagement Rate Formula

by Adrián Melis, Spain, 2019, 10’

*Engagement Rate Formula is a video in which Melis proposes a serial production of social media’s Like icons made out of plaster material. Once the 500 likes has been reached, those are packed in boxes in order to being sent by postal mail to the Moira refugee camp, in Lesbos island, Greece. 


Likewise, Melis establishes contact with different humanitarian organizations to talk about potential collaborations and to get advise about his proposal. This way, the artist generate conversations which border on the absurd and surreal. Engagement Rate Formula proposes from irony the translation to real material of a digital reality immersed in false commitment.

* The engagement rate is used to measure the level of interaction by followers from content created by a user. It is calculated as total engagement divided by total followers, multiplied by 100.

Laika

by Julius Continental, Germany, 2020, 13’

Laika is in a state of inner turmoil and her perspective on nature, surrounding her both physically and medially, is shifted. A vision of intimacy lets her calm down.

Drop City

by Peter Burr USA, 2019, 6'48''

Drop City is a portrait of a computer desktop community. It takes its name from the first rural hippy commune in America, a settlement in southern Colorado that formed in 1965 constructed of discarded junk, salvaged car tops, and other detritus fashioned into inventive living structures. A decade later Drop City was completely abandoned. Nothing is left of it today.

 

"I was there the other day. So weird wandering thru those deserted ripped-off structures that so much love & agony & labor went into building. There were ghosts behind every broken window & half-off-the-hinges door. Sad hippy ghost town with a pile of human shit deposited on the drainboard next to the sink. Too many rats packed into too small a space. I guess we'll go down & scrounge what we can." (Peter Rabbit on Drop City)

The Lake and The Lake 

by Sindhu Thirumalaisamy, India/USA, 2019, 38’

The Lake and The Lake dwells in the peripheries of Bellandur lake in Bangalore, "India's Silicon Valley", where the act of observation is interrupted by flying foam,  noxious gases, daydreams, and questions from passers-by. Despite its spectacular toxicity, the lake remains a valuable resource and refuge for counterpublics. Standing alongside fishing communities, migrant waste workers, private security guards, street dogs, and children, it is evident that there is no nature that doesn't also include all of us.

"The lake is choked with dense white foam that is lensed with lyric abandon in the film’s surreal opening. It appears like movie snow floating in the ghost light. In the artist’s words: “bubbles of wealth surrounded by pools of neglect.” Could something so beautiful be toxic?

On a sunset balcony a friend or familiar poses her camera-phone against the skyline, and flicks through a hundred views, variations on a theme, offering a rosy hued, sundrenched beauty. But where is the garbage, the shit, the unwanted? Cropped and disappeared. As if one could become a tourist in the only city one’s ever lived in. 
In place of a polemic, a broadsheet, or an overview: there is a search. An attuning. A being with." - Mike Hoolboom. 
Read full essay about the film at http://mikehoolboom.com/?p=20946

Communal

by Marina Smorodinova, France, 2019, 15’

A kommunalka in a city center of Saint-Petersburg : seven rooms, a shared kitchen, long corridors. Between yesterday and today: a few hours of the life of its inhabitants.

Medusa and The Abyss

by Felicity Palma, USA, 2019, 11’

Notions of belonging and the ethics of travel are questioned through female rite and ritual, pointing at the pervasive and contradictory presence of history and myth in present-day Sicily.

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