(Online, 2017, 15’), Leandro Goddinho
A documentary that takes place entirely on a computer screen. A student experimental documentary film all made online with footage recorded from the computer desktop screen. Since the 1980's, HIV has been stigmatized within the LGBTQ+ community. In the digital era, four Brazilian created YouTube Channels to talk openly about their HIV status, in a very positive way. They are digital activists trying to spread a new message about how it is to live with the virus, showing that HIV is no longer a death sentence. Sharing their daily lives, they have created an online community where people feel safe to interact, learn, share their knowledge, worries, and doubts about a subject that is still taboo.
The Maribor Uprisings – An Interactive, Participatory Documentary, by Maple J. Razsa & Milton Guillén (Maribor, 2017, 90’)
In the once prosperous industrial city of Maribor, Slovenia, anger over political corruption became unruly revolt. In The Maribor Uprisings—part film, part conversation, and part interactive experiment—you are invited to participate in the protests. Dramatic frontline footage from a video activist collective places you in Maribor as crowds surround and ransack City Hall under a hailstorm of tear gas canisters. As a viewer, you must decide collectively with your fellow audience members which cameras you will follow and therefore how the screening will unfold. Like those who joined the actual uprisings, you will be faced with the choice of joining non-violent protests or following rowdy crowds towards City Hall and greater conflict.
“•”, by Ezekiel Morgan
(Berlin, 2018, 13’)
An octopus, a washing machine, a hacked 360 degree camera, and a subsonic noise film on an intergalactic scale.
A dead octopus in a washing machine, shot with a hacked 360-degree camera and manipulated by algorithms to an abstract pixel cosmos, which seems to depict something incomprehensibly large, or maybe something incredibly small. In any case, we are witnessing a transformation process beyond any scale, which transcends biology and machine. Ezekiel Morgan's unnamed film is a high-tech attempt to define an absolute zero of both representation and meaning, but with surgical precision. The sound is almost subsonic, and seems to have a causal influence on how the abstract and viscous masses of pixels move around on the fringe of the great void. Morgan's work elevates the possibilities of noise film to a new level - or maybe it lowers them to new and unknown depths? The cinema auditorium will never feel the same after this one.
(Iceland, 2018, 17’), Jón Bjarki Magnússon
Like roaming asteroids, we move through space: never alone, forming deep bonds along the way. Hundreds of thousands of online gamers mine, trade and fight their way through computer-generated galaxies far, far away from the world as we know it. In the vast and hostile world of New Eden, no one can really be trusted. How can one make friends in the depths of space? Weaving together the experiences of fourteen Eve Online players, we reveal an intimate story about the ability of online games to forge community and bridge the space between us.
Circa, by S. Buse Yıldırım
(Istanbul, 2018, 12’)
A visual essay on the digital anthropology of menstruation and how the notion of fertility is perceived by the outer/social world. The video depicts the relationship of our biological rhythm and a digital period tracker application within a spatial approach. It observes the context more in an abstract way using applications, encouraging users to think over its contribution to self-awareness and self-manageability, in particular of the female body and its position in the socio-cultural context. This sense of wonder has also gone more to finding out whether users are aware of the digital interference to biological rhythm on bodily functions or not, and how they deal with this consciousness.
Influencer, by Lillian Dam Bracia
(Berlin, 2018, 16’)
Ιnfluencer explores the online and offline persona of Dam Bracia's sister, Caroline Viehweg, a social media influencer working predominately on Instagram and YouΤube. Viehweg can be considered "instafamous" with over 100,000 followers. The content she posts is monetized which has enabled her to begin the development of a personal consumer brand with the aim of "woman empowerment". Through intertwining Instagram and YouΤube content with Skype interviews conducted with Viehweg and other instagram users, the film examines how Viehweg's online persona is created and performed as well as how followers perceive her. Underlying this focus is a sensitive inquiry into Dam Bracia's and Viehweg's familial relationship.