Future Anterior /(Instant); Muriel Montini; 6.00; S8/Digi
A woman emerges from the shadows in slow motion. While approaching, we hear echoes of story. It might seem insignificant, but it’s the sort of story that haunts your thoughts for the rest of your life.

Dream Of Me; Agnes Moon; 9.31; Digi
Using images and testimony far removed from the life of its ostensible subject, the documentary attempts to imagine a sister, a relationship, and mixed-race identity.

Land Of Mourning Calm; Jessica Bardsley; 15.00; Digi
Land of Mourning Calm is an epistolary video essay that charts a long distance correspondence between two women–one American, the other South Korean. It is a work of experimental ethnography, which uses personal memory as a mode of exploring female intimacy, self-discovery, and issues of cross-cultural translation.

Elinor Beauregard; Simone Bailey; 1.36; Digi
Drawing from Gustave Calliebotte’s The Floor Scrapers, the video examines labor, bodies, and touch.

The Sin; Doris Neidl; 3.06; Digi
A video inspired by a poem of Iranian writer Forough Farrokzhad. It speaks about love, lust and desire. But it’s also highly mystical.  For the video I used found footage (three of my favorite films: Hiroshima mon amour; La piscine, Jules et Jim) combined with new footage. The words are spoken in Farsi. I am borrowing excerpts from the films and transforming them into a new context. Therefore, on one side bowing to these films of “world cinema”, on the other side interpreting and visualizing Farrokzhad’s poem.

Trust; Tammy Kinsey; 7.41; Digi
TRUST uses digital and traditional elements chronicling the experience of traveling alone as a female, observations of the road, an internal and external journey measured in miles.

Hatchet; Hilda Daniel; 0.29 Looped; Digi
Phonetic sequences propel decapitated segments suggesting threat, violence – dv, stalking, rape – escape. Words are used linguistically, sonically and visually to convey meaning (“hatchet” is repeated in whispers chugging like a train or train of thought locked in a chant of madness or fear; letters move, are hacked, torn, peek and disappear…). The piece is a fright of fancy – a concrete poem part rage, part fear.