Call & Response; Ellen Lake; 3.30; 16mm / cell phone/digi
Vintage 16 mm film home movies from the late 1930s/early 40s combines with cell phone and digital media today to explore ideas about the evolution of technology, the relationship between past and present, and the perception of time and memory.

Opal; Cara Marisa Deleon; 3.30; digi
An experimental nursery rhyme explores gender and power.

Till There Was You; Baba Hillman; 7.30; super8/digi
Performers:Laura Diaz del Corral, Baba Hillman; Camera: Léna Rouxel, Fernando de Azevedo, Baba Hillman; Music: Columb Farrelly. I don’t know where my steps lead. But I am here through you, through my love for your eyes.

Never Too Late; Wendy Weinberg; 7.40; digi
Using images from vintage films and classic TV and replacing the soundtrack with contemporary dialogue, “Never Too Late” tells the story of two hotel maids who have lived together in San Francisco for 25 years. When the California courts grant same-sex couples the right to marry,
Stella and Rosie decide it’s time to tie the knot. But before they can hire a florist, Prop 8 is passed. Must they head east in search of equality?

Orgasmatique, Dramatique, Horror; Melissa Bruno; 2.13; digi
A performance art video that critiques the exploitation of the female face in popular body genre films (pornography, melodrama, horror) and the role women have been burdened with in cinematic history as the sole bearer of emotion.

Dinner For 4; Ariane Loze; 7.00; digi
MÔWN (Movies on my own)  is a series in which Loze plays with our reflex to interpret images and to associate them to create a coherent narrative. In these shorts, Loze plays all the parts, and she is also the director, the camerawoman, the scenarist and the editor. The edit constructs a relationship between 2 or more different characters and the architecture that surrounds them. By reducing the means to a minimum, one actress and a camera, the artifices of filmmaking become more visible and the spectator has to use his/her imagination to construct the story and to overcome the artificiality of this recomposed image of reality—Three women sitting around a dinner table, waiting.The atmosphere is tensed. The fourth one arrives, she will be the only one to eat, the others will observe her. Between these four women, a silent conflict develops and the gestures of each of them are judged by the others. Feelings of mistrust and anxiety grow. The outcome surprises them all.

Pricktic; Hilda Daniel; 0.58; digi
A nervous tic, a sinister twitch, a butterfly, beermat and desire edge inside a woolly slit of fluttering violence. In PrickTic, pressed seduction teeters and is dragged into a covert drama played out in non-verbal sound. The wrenching of audio clip and image from their original form into distressed violence is echoed in the narrative.

Segment: 38:07; Hilda Daniel; 0.38; digi
Experimental entomology, phonology-linguistics, power, abuse and sex in 38 seconds or less. In Segment, I have taken a small bit of archival footage (a children’s science film from the great Prelinger Archive online) and, reprocessing sound from aged film and record, exposed an overlooked narrative from the original film and restructured a new narrative thread which may have broader implications.

Honey Bed; Syni Pappa; 4.08; Super 8
Honey Bed is an intimate portrayal of femininity and the act of subversion in the post modern times of depression. The film was shot in one Super 8 film cartridge with no retakes.

Milling the Lights; Jelena Maksimovic; 15.50; digi
Lights, bodies, movements. Love story filmed by a broken web camera.