Vladimir Leschiov, Lithuania, 2004, 35mm, 7'
She comes at night, quiet as a cat, to take his sleep away until he feeds her. All she needs is milk brought by him somewhere between sleep and reality. Her name is Insomnia.
Jelena Girlin, Marii-Liis Basskovskaja, Urmas Jõemees, Estonia, 2004, Beta, 18'
Rita is a common woman. Her body knows how to menstruate, make love, give birth too, but also how to kill unborn babies…
Izabela Bartosik, Poland, 2004, Beta, 9'22''
The subject of the film is a dance, a symbolic dance, which expresses the emotions of the two main characters – the dancers – a man and a woman. It shows different stages in the life that they are spending together.
Artur Dauti, Albania, 2004, 35mm, 7'45''
The history of the human being, representative of a certain society in movement, but with unknown direction. The man in relation with himself, with the surrounding environment, with the society he is part of. Physically and symbolically chargeable. The atmosphere is the same, a society in movement.
Veronika Schubert, Austria, 2005, Beta, 5'10''
Tele-Dialog is based on the German term “einfach gestrickt“ which means translated into English “simply knitted“ concerning the simple plot structure of TV-series like soap operas and talk shows. The film consists of more than 800 frames which were knitted with black and white wool on an analog knitting machine. The sound of this knitting-animation is found footage from television. Sentences from different entertainment series have been mixed together. The abstract story is based on emotions, clichés and platitudes but appeares like a complex discussion.
Zdeněk Durdil, Czech Republic, Beta, 7'30''
This short film shows us the ways the mankind got to know more about the reasons and connections to our existence. “The Truth“ that is didactical, and was described by human rules is put to a contrast with the endless eternity of the Universe. The message of the film is not to describe the truth again or better, it is merely a critical meditation of a man standing under the night sky.
Goran Trbuljak, Croatia, 2004, 35mm, 7'42''
The film, through exploring the pregnancy, allows all kinds of unrealistic situations. Pictures of a pregnant woman, in all kinds of helpless positions on the couch, always in the same corner of the room, are mixed with pictures of passages, daylight, darkness, shadows on the walls and the ceiling. Laying there helplessly in expectation, she is amused by the projections which should show how time passes by very slowly. The movement of the pregnant woman is in animation, as in life, reduced. The choice of music and sounds in this film is essential, as it needs to contribute to the atmosphere of fatigue, helplessness, boredom and expectation.
Marek Skrobecki, Poland, 2005, 35mm, 16'41''
Ichthys is metaphoric, film parable about the persistence of waiting, hope and fulfilment told in unique and unconventional manner. The main character is a mature man. He appears in a restaurant which interior resembles sacred building. He is the only client there and is greeted by the waiter with cherub’s face. The waiter takes the order and leaves. The client waits for his return… Time goes by making everything grow old. When finally, the ever-young waiter appears with ordered meal, the client looks like he is dead…
László Csáki, Hungary, 2005, 35mm, 5'
The chalk-drawn film is based on Richard Brautigan’s novel Revenge of the Lawn. The film tells the story of a childhood memory. After the death of grandpa’, Jack took over the domesticities, and delivered grandma’s bourbon on his truck. Grandma’s whisky served as salutary refreshment during prohibition times.
Arash T. Riahi, Austria, 2005, Beta, 6'
What in the beginning of Mississippi appears to be a lavishly choreographed dialog between natural chaos and abstract structure is revealed at some point as an autonomous concert of forms. At first one would assume that Arash T. Riahi’s intoxicating visual composition amounts to simply making chaotically spraying drops of water on the one hand and geometrically structured (and dominated by a bright red) fields of color on the other accessible in the contrapuntal rhythm of their movements. Gradually the point of view offered at the beginning starts to falter through subtle shifts in perspective and focus until the borders between chaos and structure, between abstraction and representation, begin to blur and the visual levels, apparently arranged artificially, meld into a uniform, concrete shape through interaction with the slowly beginning noise on the soundtrack.
Magda Dulčič, Croatia, 2004, Beta, 3'20''
Every film by itself exists as an animated micro entity, but also as a part of a cycle which can go around in circles infinitively. There is no hero in a classical sense. The essential question is how much we can reduce an idea and still make it function as a miniature entity. That is why a gag is introduced. By itself or as a global metaphor it functions as a key to acknowledge the position of absurdity.