Sang is one of hundreds of thousands of unwanted and discriminated children left behind by the American soldiers after the Vietnam War. When his lifelong dream of finding his father comes true, Sang's only mission is to race against time to meet his ailing dad and break the cycle of war trauma that has plagued generations. After a long and challenging journey, Sang can finally go to the USA but he can do so without his wife, daughter, and beloved grandson. Reuniting with his father is a healing experience for both, but it is far from easy. Even though 50 years have passed since the last American soldier left Vietnam, many wounds remain open.

The film is still in rough-cut stage.

The language, in which lullabies were sung to me, kills. And I do with it too. And the lullabies fall silent.

An inner monologue between two languages and identities. Between the black and white of the pinscreen “L’Alpine”.

The film Dajori (which means mother in Romani) tells the story of the main character Marie (45), a mother of three, who lives an ordinary life in a block of flats in Varnsdorf with her husband Enrico (50). For a long time now, Varnsdorf has been classified as an area with a population threatened by poverty and social exclusion. Marie assumes the role of the female head of her extended family and decides to help her younger sister, Iveta, who has become homeless with her nine children.

Two-year-old Anabel and nine-year-old Samuel end up being fostered by Marie and Enrico. In the next three years, the film follows the dynamics of the new family and Marie's efforts to provide the traumatised children with motherly love while at the same time raising them according to her ideals. While Iveta is unable to deal with her problems, Samuel enters puberty and challenges Maria's efforts…

Twins Aliyyah and Yasmeen Koloc are race car drivers. As teenage girls in a male-dominated sport, they have been making a name for themselves and their fame keeps growing. The main coach and manager of the whole team, to whom everybody answers, is their father Martin Koloc. Serving as an inspiration for young girls worldwide, the sisterly duo trains hard because in 2023, they intend to take on the best racers from all over the world at one of the toughest races, the Dakar Rally.

The twins appear to work great as a duo although Yasmeen admits that her sister seems to be a better driver. Yasmeen wants to push herself even more but during an important endurance race in Belgium, she gets into an accident. She goes into a skid and a rival’s car crashes into hers at full speed. Yasmeen is alright, but she injures her hand. She needs to take a break from racing. Yasmeen tries to support her sister. However, she is quickly realising that Aliyyah is becoming a much brighter star than she ever was. Can Yasmeen and Aliyyah join forces in the tough race and be there for each other?

December is a creative documentary, which focuses on the contemporary perception of migrants from the Middle East and Africa.

People’s indifference is juxtaposed with hostility and empathy, creating a tapestry of modern society. The month of December is a harbinger of winter, not only in literal terms. It might also be associated with tragedies related to the migrant crisis as well as the “coldness” symbolising the lack of sympathy towards refugees. Significantly, December is the month of Christian holidays celebrating the birth of Jesus, the period in which it is advised to help people in need. That’s why we’ve planned to use December, along with its unique narrative arc, to build the structure of the film through thirty-one chapters as well as key and characteristic days of that month.

The film is a patchwork of scenes, which differ in both the message and the form. Poetic impressions are intertwined with amateur footage and “conventional” observational scenes. Each scene is usually an autonomous mini-story. Additionally, main plots, such as the progress of the destructive winter, the activists fighting and speaking up for migrants, the struggle of the refugees or the Christmas preparations, are continued or reflected in a contrasting or symbolic manner in other, seemingly different scenes.

If traditionally the animator is a master illusionist, conjuring motion through static mediums, what does this process look like when they are given a machine of infinite images?

Diffusion Pilot is the name of the author's ongoing research project, AI animation toolkit in development, and a short film that follows the author's contemplative journey through the said project. This journey is fuelled by the conflicting nature of AI technology – one which empowers and at the same time overpowers the very notion of creativity.

There is an inherent understanding of the grieving process when a family loses a loved one, but what if that person isn’t gone?

Don’t Forget to Remember is an artist’s exploration of the fragility of memory and the lived experience of his mother’s advancing Alzheimer’s. Yet, it also celebrates a family’s life lived together.

The film opens a conversation about the delicate nature of memory. Through the artist’s process, we establish that even though Alzheimer’s brings elements of disintegration and destruction, we can never truly lose a loved one if we hold on to our collective memories.

Don’t Forget to Remember is a creative collaboration between the artist, Asbestos, and director Ross Killeen.

Both have lived experiences with their mothers having Alzheimer’s and Dementia respectively. Ross’s mother, Patricia, sadly passed away in 2019. Asbestos’ mother, Helena, is at an advanced stage with her Alzheimer’s. The pair is keen to open further honest conversations about it.

Don’t Forget to Remember is emotive, personal and artistic in its approach. It explores the concept of memory and the self and how it relates to the personal connections of those living with Alzheimer’s.

Throw away all common sense and tap into your madness as you follow Dr Nelly Ben Hayoun-Stépanian – a London-based artist and educator of Armenian and Algerian descent – on a fascinating journey to build a new civilisation on the moon. Along with her doppelgängers, Myriam and Lucia, Nelly challenges us to defy power structures and reject planetary exploitation by letting go of the constraints of borders, gender, and religion to embrace what diversity could be in the vast landscape of our imaginations.

Prior to their mission, Nelly and her parallel version of self speak with a wide-ranging collection of experts. There’s an LGBTQ+ rights activist, an astronomer, a political scientist, an archaeologist who also makes wine, a theoretical physicist, an environmental designer, a horror filmmaker, and a mathematical economist. They are all crucial to their quest to uncover the key to a queer, eco-feminist future devoid of generational trauma, colonisation, and imperialism. However, as the analogue space mission takes unexpected turns, the future remains as uncertain as the condition of Schrödinger’s Cat.

SXSW 2024 Vision nominee. Doppelgängers³ was made with the support of the BFI Doc Society and Sundance Institute.

Our attention has become a territory that all media are fighting to conquer. No matter whether the goal of this conquest is a commercial interest or political indoctrination, we are under siege. The natural human need for social interaction is used to immerse us in the dull, debilitating entertainment that is neither funny nor useful. It resembles an itch that makes you want to scratch your body.

The war for our attention has suddenly become an actual war. Information technologies appear not just as mere means for somebody’s ends but as something having its own agency, as one of the acting forces rendering possible a horrific event, which is very hard to accept and almost impossible to comprehend. We have no control over it and are doomed to scroll through the newsfeed.