VIDEOAKTION #6

6 December // 9:30 pm

Projection IV

Tridisha Goswami, A Capsized Boat, HD Video, 2024, 4 mins.

The film weaves a disjointed narrative about dreams, loss and longing.

Yuliya Tsviatkova, In the Animal’s Skin, HD Video, 2025, 14 mins.

“In the animal’s skin” explores borders — both political and ecological. The film focuses on the Belarus-Poland border, which runs through the Białowieża Forest. On one hand, “Białowieża” is a protected ecological area; on the other, it has become a physical space of control, detentions, and fear. In recent years, a border wall was built to stop refugees from crossing, cutting straight through the forest and separating animal habitats in the process. This work not only documents current political events and the ongoing humanitarian catastrophe at the Polish-Belarusian border, but also explores the connections and parallels between human and non-human animals — how spaces of free movement become deadly labyrinths, and how the forest itself becomes a silent witness.

Nikolas Candido, Nonno, 16mm/Super 8/digitised, 2024, 11 mins.

This film is a document with a double weight, material and symbolic, on a forgotten part of my family history. Many of the impoverished Italians who emigrated to Brazil at the end of the 19th century have had their lives poorly documented and destined for oblivion, while rich European families have preserved their memories. This film revives what my grandfather always tried to cultivate: the memory of his Italian mother. The last time I saw him, he did not have much memory left. The only meaning he could murmur was a fragment of his mother’s name “Ro..sa”,… Considering a film as an essay, as an attempt; with this film I tried to conceive a symbolic structure to contribute, from the personal, to a collective story.

Neozoon, Good Boy – Bad Boy, Found footage video, 2011, 3 mins.

The video film “Good Boy –Bad Boy” is a composition of dog owner amateur recordings from YoutTube. The video collage focuses on the unabashed display of human interaction with domestic animals on the internet and the big community behind those videos.

Ghada Sayegh, Meteors…, Found footage video, 2025, 9 mins.

“Meteors…” is composed of images drawn from the Katsakh Mediterranean Archive — a personal collection of non-fiction Super 8 mm and 16 mm films capturing towns and villages across the Eastern Mediterranean from the 1930s to the 1980s, initiated in 2020 by experimental filmmaker and archivist Chantal Partamian. The film explores the relationship between text and image, using a poetic text on exile and memory co-written by Chantal Partamian and myself, in the form of a correspondence between Montreal and Beirut. Between images and words unfolds a poetic exchange that traces the paths of exile, imprinting the landscapes here and elsewhere with a history steeped in memory and mourning.

Giancarlo M. Sandoval & Sidney Mandros, Letzter Tag [The Last Day], HD Video, 2025, 12 mins.

Two bodies in an apartment. The night gives way to the day. Four poems anchor the experience of Berlin in 2024. The city awakens through justified protest. German culture withdraws yet remains. Chronic illness and disability dwell. The bodies disappear.

Caroline Monnet, Pidikwe, HD Video, 2025, 10 mins.

Featuring indigenous women of various generations, “Pidikwe” integrates traditional and contemporary dance in an audiovisual whirlwind that straddles the border between film and performance, somewhere between the past and the future.

Lilan Yang, Untitled Film Disinfection Project I, 16mm/digitised, 2025, 4 mins.

As Borges once said, “Censorship is the mother of metaphor”, this film explores how state control breeds its own linguistic and visual resistance. Created in response to China’s “zero-COVID” policy—with its harsh lockdowns, relentless testing, and severe restrictions that tragically culminated in the Ürümqi fire—this project treats developed image-less film as an “unclean” object in need of cleansing. By applying chlorine dioxide to film surfaces—following government disinfection guidelines during the pandemic—the work transforms physical material into a metaphor for censorship and information control in mainland China.

Agnès Perrais, Terre rouge terre noire [Red earth black earth], 16mm, 2024, 6 mins.

Four motifs of an insular landscape: dunes, grass, stormy skies, sea. These motifs are inflected and intertwined through various photochemical operations: successive printing generations, flat printing, bipacking, and chemical toning; unsettling the steady, desolate shots to create an imaginary landscape where elements and matter meet. (Light Cone, Paris)