Ester Martin Bergsmark

A queer metaphysical love story that weaves itself through real and imagined sexual encounters across darkrooms, forest cruising zones and highway shoulders. In these fantastical playgrounds, bodies are free to imagine themselves in a multiplicity of forms as they encounter other bodies without preconceived notions of what those other bodies desire, what they will need, and how they should be touched. While trusting the energetic attraction of bodies towards each other and learning through the encounter, INSTINCT simultaneously asks: what does it mean for a queer body to actively (un)learn what it might assume about another body's sex, gender, and desire?

A queer metaphysical love story that weaves itself through real and imagined sexual encounters across darkrooms, forest cruising zones and highway shoulders. In these fantastical playgrounds, bodies are free to imagine themselves in a multiplicity of forms as they encounter other bodies without preconceived notions of what those other bodies desire, what they will need, and how they should be touched. While trusting the energetic attraction of bodies towards each other and learning through the encounter, INSTINCT simultaneously asks: what does it mean for a queer body to actively (un)learn what it might assume about another body's sex, gender, and desire?

A queer metaphysical love story that weaves itself through real and imagined sexual encounters across darkrooms, forest cruising zones and highway shoulders. In these fantastical playgrounds, bodies are free to imagine themselves in a multiplicity of forms as they encounter other bodies without preconceived notions of what those other bodies desire, what they will need, and how they should be touched. While trusting the energetic attraction of bodies towards each other and learning through the encounter, INSTINCT simultaneously asks: what does it mean for a queer body to actively (un)learn what it might assume about another body's sex, gender, and desire?

A queer metaphysical love story that weaves itself through real and imagined sexual encounters across darkrooms, forest cruising zones and highway shoulders. In these fantastical playgrounds, bodies are free to imagine themselves in a multiplicity of forms as they encounter other bodies without preconceived notions of what those other bodies desire, what they will need, and how they should be touched. While trusting the energetic attraction of bodies towards each other and learning through the encounter, INSTINCT simultaneously asks: what does it mean for a queer body to actively (un)learn what it might assume about another body's sex, gender, and desire?

A queer metaphysical love story that weaves itself through real and imagined sexual encounters across darkrooms, forest cruising zones and highway shoulders. In these fantastical playgrounds, bodies are free to imagine themselves in a multiplicity of forms as they encounter other bodies without preconceived notions of what those other bodies desire, what they will need, and how they should be touched. While trusting the energetic attraction of bodies towards each other and learning through the encounter, INSTINCT simultaneously asks: what does it mean for a queer body to actively (un)learn what it might assume about another body's sex, gender, and desire?

An existential sugar shock which takes us on a fun, candy-filled roller-coaster ride between cruel violence and extreme cuteness - which prove to be disturbingly close together.

An existential sugar shock which takes us on a fun, candy-filled roller-coaster ride between cruel violence and extreme cuteness - which prove to be disturbingly close together.

Cuando Andreas y Sebastian se conocen, saben que están hechos el uno para el otro. En plena borrachera de amor, toman la ciudad vacía en verano: hurtos en el 7-Eleven, bailes en azoteas, baños furtivos, noches eufóricas. Pero a Andreas, heterosexual, le cuesta asumir su amor por el andrógino Sebastian, pues en su frágil feminidad, no deja de ser un hombre. Y, como dice la canción de Joy Division que da título al film, algo debe romperse: “Dos caminos a elegir / ante el filo de una navaja / quédate atrás / o impúlsate adelante”. (FILMAFFINITY)

Cuando Andreas y Sebastian se conocen, saben que están hechos el uno para el otro. En plena borrachera de amor, toman la ciudad vacía en verano: hurtos en el 7-Eleven, bailes en azoteas, baños furtivos, noches eufóricas. Pero a Andreas, heterosexual, le cuesta asumir su amor por el andrógino Sebastian, pues en su frágil feminidad, no deja de ser un hombre. Y, como dice la canción de Joy Division que da título al film, algo debe romperse: “Dos caminos a elegir / ante el filo de una navaja / quédate atrás / o impúlsate adelante”. (FILMAFFINITY)

Cuando Andreas y Sebastian se conocen, saben que están hechos el uno para el otro. En plena borrachera de amor, toman la ciudad vacía en verano: hurtos en el 7-Eleven, bailes en azoteas, baños furtivos, noches eufóricas. Pero a Andreas, heterosexual, le cuesta asumir su amor por el andrógino Sebastian, pues en su frágil feminidad, no deja de ser un hombre. Y, como dice la canción de Joy Division que da título al film, algo debe romperse: “Dos caminos a elegir / ante el filo de una navaja / quédate atrás / o impúlsate adelante”. (FILMAFFINITY)

'Full of Fire,' a short film by Marit Östberg, Music by The Knife.

Caught between two genders, the artist Eli Leven and Ester Martin Bergsmark touch and caress each other, while they bath together in clouds of steam. A persuasive voice-off describes the often hard and painful growing process, which led them to choose to be neither males nor females. But something else entirely. While memories of adolescences scarred by homophobia and discrimination are presented, the audience is also captivated by poetic evocations of bodies, of snowy woods, water, nature, and snails: the symbol of androgyny. This movie moves the audience profoundly. It is a hymn to sexual fluidity, which reveals the search for the true self, rendered through the use of contrasting, vivid, and often acid bright photography. Intended as a television portrait of the transgender artist Eli Leven, it is a psychedelic docu-fiction, a hybrid movie inspired by Derek Jarman's Sebastian.

Caught between two genders, the artist Eli Leven and Ester Martin Bergsmark touch and caress each other, while they bath together in clouds of steam. A persuasive voice-off describes the often hard and painful growing process, which led them to choose to be neither males nor females. But something else entirely. While memories of adolescences scarred by homophobia and discrimination are presented, the audience is also captivated by poetic evocations of bodies, of snowy woods, water, nature, and snails: the symbol of androgyny. This movie moves the audience profoundly. It is a hymn to sexual fluidity, which reveals the search for the true self, rendered through the use of contrasting, vivid, and often acid bright photography. Intended as a television portrait of the transgender artist Eli Leven, it is a psychedelic docu-fiction, a hybrid movie inspired by Derek Jarman's Sebastian.

Caught between two genders, the artist Eli Leven and Ester Martin Bergsmark touch and caress each other, while they bath together in clouds of steam. A persuasive voice-off describes the often hard and painful growing process, which led them to choose to be neither males nor females. But something else entirely. While memories of adolescences scarred by homophobia and discrimination are presented, the audience is also captivated by poetic evocations of bodies, of snowy woods, water, nature, and snails: the symbol of androgyny. This movie moves the audience profoundly. It is a hymn to sexual fluidity, which reveals the search for the true self, rendered through the use of contrasting, vivid, and often acid bright photography. Intended as a television portrait of the transgender artist Eli Leven, it is a psychedelic docu-fiction, a hybrid movie inspired by Derek Jarman's Sebastian.

Caught between two genders, the artist Eli Leven and Ester Martin Bergsmark touch and caress each other, while they bath together in clouds of steam. A persuasive voice-off describes the often hard and painful growing process, which led them to choose to be neither males nor females. But something else entirely. While memories of adolescences scarred by homophobia and discrimination are presented, the audience is also captivated by poetic evocations of bodies, of snowy woods, water, nature, and snails: the symbol of androgyny. This movie moves the audience profoundly. It is a hymn to sexual fluidity, which reveals the search for the true self, rendered through the use of contrasting, vivid, and often acid bright photography. Intended as a television portrait of the transgender artist Eli Leven, it is a psychedelic docu-fiction, a hybrid movie inspired by Derek Jarman's Sebastian.

Caught between two genders, the artist Eli Leven and Ester Martin Bergsmark touch and caress each other, while they bath together in clouds of steam. A persuasive voice-off describes the often hard and painful growing process, which led them to choose to be neither males nor females. But something else entirely. While memories of adolescences scarred by homophobia and discrimination are presented, the audience is also captivated by poetic evocations of bodies, of snowy woods, water, nature, and snails: the symbol of androgyny. This movie moves the audience profoundly. It is a hymn to sexual fluidity, which reveals the search for the true self, rendered through the use of contrasting, vivid, and often acid bright photography. Intended as a television portrait of the transgender artist Eli Leven, it is a psychedelic docu-fiction, a hybrid movie inspired by Derek Jarman's Sebastian.

Includes 12 shorts directed by young female artists, directors and feminists to create "12 propositions to rethink pornography".

Includes 12 shorts directed by young female artists, directors and feminists to create "12 propositions to rethink pornography".

A portrait of Maggie, through Swedish everyday life. Maggie always co-ordinates high heels with a beret, and she loves gold. She lives on the 15th floor in one of Malmö’s suburbs. Her balcony is littered with reminders of her previous life. Under a golf bag, next to a racing ticket from 1999, are the remains of a pigeon that she killed when she couldn’t sleep.

A portrait of Maggie, through Swedish everyday life. Maggie always co-ordinates high heels with a beret, and she loves gold. She lives on the 15th floor in one of Malmö’s suburbs. Her balcony is littered with reminders of her previous life. Under a golf bag, next to a racing ticket from 1999, are the remains of a pigeon that she killed when she couldn’t sleep.

A series of jumbled, abrasive, abstract images of a less than glamorous Sweden.