State, The

As a verite documentation of the May 1, 1971 demonstration against the Vietnam War staged in Washington, D.C., Mayday Realtime presents a largely unedited flow of events from the point of view of participants on the street. Cort's camera captures the random, disorienting incidents that marked the day - demonstrators holding up traffic in the Capitol, skirmishes with police, on-the-scene interviews with onlookers. The camera impulsively responds to shouting and movement on the street.

Radio reports analyze staged photographs we do not see, showing the victims of a mass murder committed by Mexican soldiers. The politicization of the film accounts for the duality between framing and mis-framing, and also shows the overflowing character of a process of transit.

An old Russian Akula submarine, armed with ballistic nuclear missiles, is assigned a new captain. But Captain Pavel seems to care very little for Navy protocol. In fact, he feels the crew’s jobs are a waste of time, preferring to lead discussions about spiritual matters. The Captain dresses in a cassock and grows a long beard. His favorite pastime is shamanic drumming, which even the confused American’s can hear from the ship.

Tarlabaşı integrates performances of everyday movements and gestures as a direct response to the devastation caused by the centralized state sponsored urban renewal project in downtown Istanbul.

Dancer: Idil Kemer
Music: Cenk Ergün
Production: Yunus Demir

After an all-night session of editing Free Society, Garrin headed home with video-8 camera in-hand, only to happen upon the Tompkins Square riots. As police tried to enforce a curfew aimed at removing homeless people from the park, Garrin began gathering footage of cops beating up protesters. He was then attacked by police himself, as the camera continued to roll. The footage was subsequently incorporated into Free Society, in which the military myth of "protect and serve" is dismantled by first-hand experience.

Unmanned Aerial Vehicles — drones — have become an everyday feature of contemporary military activity, replacing humans in reconnaissance flights, small-scale combat missions and covert operations. The U.S. Army operates some ten thousands UAVs — a six-fold increase during Obama's term — deploying them over locations like Pakistan and Yemen.

Babeldom is a city so massive and growing at such a speed that soon, it is said, light itself will not escape its gravitational pull. How can two lovers communicate, one from inside the city and one outside? This is an elegy to urban life, against the backdrop of a city of the future, a portrait assembled from film shot in modern cities all around the world and collected from the most recent research in science, technology and architecture.

"It’s a complex architectural vision equal parts awesome and terrifying… This is a film – and city – to get lost in."

Broadcasters across Ireland and Britain have entered into a blackout strike. The workers are transmitting a programme bringing censored voices back onto the airwaves.

"In the late 1980s, as violence continues in the north of Ireland, censorship is increasingly being enforced on British and Irish television. In response, broadcasters have entered into a blackout strike, occupying several stations and transmitting a programme bringing censored voices back onto the airwaves."

The author assembles a genre picture of the contemporary FRG with shots of scenes where life is rehearsed, ability/durability is tested. Wherever one looks, people appear as actors playing themselves; they take on roles. A play in the theater of life made up of training courses, fitness tests for things and people. Be it in birth preparation classes for expectant parents or in practice runs for sales talks, on the military training ground or during role-plays for educational purposes. Everywhere the incessant effort to be prepared for the emergency of "reality" can be felt.

Do Not Circulate, an experimental short film, attempts a structuralist and materialist approach to unraveling the entrails of a collective media memory. Paced by an essay as a relentless voiceover, the film rips footage that challenges the materiality, ownership and legal boundaries of documentation.

In this interview, Brian Holmes, an influential art critic, activist and translator, discusses social forms of alienation, human ecologies of power, and the impact of technology on geopolitical social networks. Holmes reflects on his ongoing study of the ways in which the rhetoric of revolution has been institutionalized, as well as artists’ resistance to such cooption. For him, artists working in collectives have the potential to create a new artistic milieu that is not aligned with the dominant model of production. This argument is born out in his published collection of essays, Hieroglyphics of the Future (2003).

People enjoy my company connects the privatisation of telecommunications with techno-optimism, euphoria and online communication in the lead-up to the millennium.

The film explores the privatisation of the Irish state-owned telecommunications company Telecom Éireann from the viewpoint of shareholders communicating on early online forums. The event is contextualised within ideologies of technological emancipation in the pre-millennium period.

Mother’s Day in Mexico is considered one of the most important family holidays of the year. Thousands of mothers have nothing to celebrate. They are the mothers of victims of forced disappearances. Mothers and relatives of the disappeared participated in the "March of National Dignity. Mothers searching for their Sons, Daughters and Justice."

Filmed from the artist’s window during lockdown, Citadel combines short fragments from British Prime Minister Boris Johnson’s speeches relating to coronavirus with views of the London skyline recorded in a variety of weather conditions. Recognising the government’s decision to place business interests before public health, it relocates the centre of power from Parliament to the financial district of the City of London.

A series of unnatural deaths and departures (almost all, of men) disrupts the lives of nine families sharing an apartment building in Jerusalem.

2 Channel Land is a north-western docu-fiction film exploring the history of analogue signals spilling across the borders of Ireland and Britain. Guided by a mysterious threshold deity, we take a journey through Ireland's borderlands in search of community.