fú píng (“duckweed”) is an essay film that follows a woman as she drifts through memories of home, family and womanhood. Through quiet imagery and poetic voiceover, the film reflects on generational trauma, cultural displacement and the unspoken tension between mothers and daughters—floating between time, language and place.
Zhenye and Anatoliy Pilipenko’s dream of a quiet place in the country is shattered overnight when Russia invades Ukraine. As rockets fall and fires rage, they face an impossible choice: flee the violence or stay and protect their home. When a soldier on his way to the frontline asks the couple if they can care for his goats – all 37 of them – while he fights in the trenches; their home transforms into the largest animal sanctuary in Eastern Ukraine. From rescued chickens, displaced donkeys, wandering horses and even emus, Anatoliy and Zhenye risk their lives and livelihoods to rescue any part of Ukraine they can. Told primarily through verité, amidst constant danger, heartbreaking loss and improbably an inextinguishable reservoir of hope, Zhenye and Anatoliy’s sanctuary stands as a defiant testament to the unbreakable bond between a nation, its people, and the land they refuse to surrender.
When Adam, a rigid gay man from Tel-Aviv, meets with a guy for a sexual encounter, he is usually gone seconds after sex is over. But tonight, while he’s stuck in an isolated village in the middle of the desert alongside a kind and romantic guy, Adam will have to face his fears before dawn will rise.
The history and myth of a ghost island off the SW African coast are told through a dystopian parable, in which a character undergoes brainwashing to escape the burden of memory in a world he no longer relates to.
Every morning, five elderly women gather to weave camouflage nets. As they work, they discuss the news, share their worries, and make up unusual names for the nets.
For half a century, elderly scholar Professor Igor Vladimirovich Vishev has championed a radically new vision of humanity’s boldest dream: the attainment of de facto immortality. Blind since youth, he is cared for with quiet devotion by Vera, a frail old woman who is not his wife, but a loyal companion of many years. Professor Vishev believes that the physical death of the body is not the end, and he looks with hope toward a brighter future beyond his own passing.
Through massive wooden crates inscribed with strange hieroglyphs, the filmmakers lead the viewer into ΚΟΙΝΟΣ ΚΟΣΜΟΣ: a fluid space where history, mythology, and play converge. Here, boundaries dissolve into permeable membranes, allowing fact and fiction, the inner and the outer, the past and the future, the living and the inanimate to exchange forms, meanings, and roles.
Hundreds of filters and assets used by online content creators for “shot on film” aesthetics are collaged together on expired 16mm Ektachrome. Digital approximations of film artifacts, ranging from industrial to experimental, move through the frame in impossible trajectories. A film about film signified.
A rocket launches into space carrying a digital message from Russia to civilizations beyond Earth. But can such a critical mission be entrusted to an automated system with full confidence that the programme won’t fail mid-flight?
In Bubble Bath, a simple bathtub becomes the stage for an unusual journey through the history of cinema. From noir and western to horror and slapstick comedy, a century of moving images unfolds in a visual meditation on the hidden poetry of everyday life.