An exploration of fluidity in both motion and corruption. Water, ever-shifting and formless, becomes the guiding concept—its movement echoed in the distortion of the image. Glitches ripple and flow like liquid, blending destruction with an organic, almost natural rhythm. For the first time in the Interludes series, sound emerges: the steady stream of water from a sink, grounding the chaos in something tangible, yet equally transient.
A frightened director is faced with the anticipation of his own film showing at the Los Angeles Film Festival that night and the technical difficulties that come with it.
Jodie, a police inspector, is tasked with finding out who sabotaged the technological system that governs every aspect of daily life: from transport to global security, from health care to management of essential services. Without a quick solution, hospitals will collapse, casualties will increase and the country could be plunged into an apocalyptic scenario. To carry out the investigation, Jodie must rely on her father Mark and an unlikely ally: Matt, a hacker with a criminal past. The clues seem to lead to a single culprit, Doctor Borghese, a respected psychologist who lost his job because of artificial intelligence. But is he really responsible, or is someone trying to frame him?
The film explores, through interviews with experts and fictional scenarios, how technology is transforming cities, mobility, healthcare, sustainability and even space exploration.
The film captures four years (late 2019-late 2023) of an unprecedented wave of feminist and antifascist activism, as expressed onto walls through collages sharing the similar graphic style. Political gestures, both individual and collective, these calls to rise up against patriarchy and capitalism, as a response to the silencing of acts of violence, are changing all at one time the public space and subjectivities under our very eyes. Trespassing, taking (back) the streets, making visible what wasn’t, in a society becoming more and more violently polarized. Here and elsewhere, as long as it will take.
Kapital Europe portrays two migrant workers in Brussels, as they navigate a journey marked by uncertainty and singular moments of joy. Reginald, a Romanian construction worker, struggles in the city’s informal building sector and contemplates returning to Romania. Niki, a young Greek newly arrived to the city, takes up work as a bicycle courier. Their stories reveal the unyielding forces of the capitalist system at work.
ELLIPTIC is a filmwork that considers an image as reflecting light. It looks at how brightly a beam of light is deflected as it hits an edge and transforms the image as it enters a lens. A delicately slow focus shift carries this movement along the cone of the visual field into a certain depth, and back again.
At Milan’s Niguarda public hospital, the unconventional Dr. Bini leads a bold mission overseeing aspiring parents undergoing in vitro fertilization and the journeys of individuals reconciling their bodies with their gender identities. He navigates the constraints set by a conservative government and an aggressive market eager to commodify bodies.
What happens when seven women meet in one place for a week? Refreshingly unorthodox, THERE IS A HAUSEN EVERYWHERE addresses the fundamental questions of the present. Can we accept other people as they are and as they live? What is perception and what is reality? And when we talk about truth, what do we mean? In this comedy that plays with the absurdities of everyday life, the seminar community in Hausen becomes a microcosmic image of society.
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