Ahmaud et Wanda - Mawena Yehouessi | 2025 | 5’40

The film is born from a breath. A brief, irrepressible sound: Wanda Cooper-Jones’s exhalation in the courtroom, as the video of her son Ahmaud Arbery’s murder is replayed. A sound that is neither a scream nor a word, but something in between — a bodily overflow in the face of the unbearable. From this breath, the film constructs a landscape. A volcano rises. Silent at first, then crossed by luminous pulsations. It erupts — or rather, it eructs. This telluric landscape then becomes the allegory of a Black ecology of mourning: a mother-earth shaped by centuries of loss, where the suffering of Black mothers — from the transatlantic slave trade to contemporary police violence — accumulates, is transmitted, and resurfaces as a memory that cannot be buried.

Atomic Tree - Charley Case | 2006 | 3’50

‘We belong to this tree, we are all connected to the very same trunk. Even when we are far away, like the leaves, it’s still the same story. When a leaf falls, it turns into humus and so the cycle starts once again.’ - Charley Case

Batalla - Colectivo Los Ingrávidos | 2019 | 4'30

‘2024 Is the tenth anniversary of the police shooting of student protesters in Iguala, Mexico. Aldo Gutiérrez Solano, then just nineteen years old, was shot in his temple by an officer and has remained in a coma ever since. Batalla is a tribute to bodies in resistance to power and corruption.’ – Cristina Kolozsváry-Kiss

The birth of a Song - Davide Tidoni  | 2025 | 21’  (work in progress)
This work is part of a broader research project initiated by the artist in 2018, focusing on the protest songs of the No-TAV movement—an Italian grassroots movement that has opposed, since the early 2000s, the construction of the new high-speed rail line between Turin and Lyon. The work brings together documentation of the clashes between the police and the No-TAV movement—specifically those that took place in the Susa Valley on July 3, 2011, during protests against the opening of the new line construction site—and the account of an individual who participated in the writing of Il furbo celerino, a song recounting a specific episode from those confrontations. By juxtaposing the intensity of the clashes with the song’s narrative strategies, the work reflects on how the movement transformed lived violence into an allusive and lighthearted mode of storytelling. The work is composed of footage filmed by the police and edited by the artist. 

Many, Many Women - Rob Jacobs & Cem Weiss | 9’

Planets travel through the cosmos of a water drop. A choir sings the phrase “this one is one” over and over, in an invitation to feel the interconnection of all beings. Many, Many Women is a chapter of JOY BOY, a feature-length film that pays tribute to the life and music of African American artist and activist Julius Eastman.

Resilience Overflow - Lara Tabet | 2023 | 15'33'

After the medical warehouse is destroyed, L. decides amidst a pandemic to hijack a

biotechnology laboratory in Madrid and genetically modify her gut bacteria to incorporate and produce the resilience gene. She aims to release it in the water system of post-apocalyptic Beirut so that it heals an entire numbed population suffering from PTSD and medication shortage. In the absence of efficient state policies in the public health sector, a human-bacterial alliance is summoned.

13 - Shinya Isobe | 2020 | 10’
The film is a continuous time-lapse with multiple exposures of the sunset from the same angle and position on 16mm film. The shoot was done in a span of 5 years. No digital copy-paste was done, all the sun that appeared was actually shot. The title "13" is because the time-lapse has a 13-second interval per frame.

Zone M - Paul Shemisi | 2022 | 16’ (work-in-progress)
The climate crisis, combined with inadequate infrastructure, makes the rainy season in the DR Congo more and more dangerous. With the frequency and intensity of heavy rains increasing, flooding threatens many lives. ZONE M focuses on the Manzenze neighbourhood, where residents are calling on their government and international polluting companies to take urgent responsibility. While the people and their stories remain central, Paul Shemisi’s wide shots let rain clouds and encroaching plants to enter the frame from all sides.