Let the blind lead those who can't see (2023) by Sebastian Vaccaris

A blind man in a dark room melts into celluloid, feeling with his hands the messy layers of processed reality. Consisting of four different processing methods, a triple pack of film types and post massaged via hands passed through algorithms. (Sebastian Vaccaris)

presentes impuros (la luz espesada) (2023) by Bruno Varela

impure present / (thickened light) / dense times / badly curdled // Clotted within other clots / Sedimented emulsions, layers of the dissected world. // interface shapes / Exchange zones. spells, sigils / forms of subtle existence / light and time traps / /The program against the program / investigation from the smoking ruins of the capital cinema. (Bruno Varela)

The Enlightenment (2023) by Stephanie Barber

Listing dangerously into poetry, philosophy and sound art, Barber’s The Enlightenment finds Yon and Payola in a Victorian conservatory. They are companionable, disoriented and petulant—they whip wildly through these disembodied states. Payola reads an excerpt of their considerable tome on the Age of Enlightenment to Yon. Payola’s research, and presentation of this research, is a purposeful affront to empirical data, the scientific method and other enlightenment ideals, while reveling in the desire for the revolution and intellectual expansion those thinkers championed. The concepts are undermined by the form and register of their delivery OR the concepts are strengthened by the poetry through which they are presented. (Stephanie Barber)

Test Objects (2023) by Sam Drake

Fragmented attempts to describe a sensation. Acts of hypnosis disturbing familiar spaces. …It’s like you’re underwater and alone and everybody else is on land and together, only we’re inhabiting the same space having to witness each other like idiots. (Sam Drake)

Ever Wanting (for Margaret Chung) (2021) by TT Takemoto

Soaring through the complicated life of San Francisco’s first Chinese American female physician, this film envisions the euphoria and despair of Margaret Chung (1889-1959) and her insatiable desire for women and belonging within a sea of white military heroes, nurses and celebrities as it delves into drugs, sapphic surgeries and queer flights of fancy. (TT Takemoto)

A Picture for Parco (2022) by Ayanna Dozier

Dozier recreates a 1980s commercial made for the Japanese department store chain Parco by Kazumi Kurigami taking on the role previously played by an elegantly dressed Faye Dunaway sitting at a table, set against a black background, slowly and seductively eating a hardboiled egg. Filmed on the one-year anniversary of Dozier’s last colposcopy, the piece evokes a range of intense feelings not present in the original.

giroscopio (2021) by John Muse & Brendamaris Rodriguez

giroscopio is by two artists—one in Pennsylvania; one in Puerto Rico—each in pandemic lockdown, each disoriented. Objects seem to control them; their bodies are unbalanced, unwieldy, comical. The horizon spins; the ground falls away; and yet a strange wonder reigns. giroscopio es un cortometraje experimental de dos artistas, uno en Pensilvania y otro en Puerto Rico, cada uno en confinamiento por la pandemia, cada uno desorientado. Los objetos parecen controlarlos; sus cuerpos son desequilibrados, difíciles de manejar, cómicos. El horizonte gira; el suelo se cae; y, sin embargo, reina una extraña maravilla. (John Muse & Brendamaris Rodriguez)

Bye Bye Now (2022) by Louise Bourque

The very gesture of waving HELLO to the movie camera in itself (re)presents a recurring GOODBYE to a fleeting moment. Made in homage to my father, this film traces past lives lived in these personal 8mm family archives he left me. (Louise Bourque)