Editor
Sirens drone over the city, announcing a state of emergency involving “disturbance of the electromagnetic field”, while individuals clandestinely fiddle with soldered bits of leftover technology. The cyberpunk mode of dystopian science fiction did not end in the 1990s; thanks to the pandemic and other crises, it’s back – with a vengeance. Alexandra Karelina’s film, superbly shot by Egor Protsko, treats this genre in an experimental way, flashing cryptic images and offering bottomless scenarios of social breakdown.
Screenplay
Sirens drone over the city, announcing a state of emergency involving “disturbance of the electromagnetic field”, while individuals clandestinely fiddle with soldered bits of leftover technology. The cyberpunk mode of dystopian science fiction did not end in the 1990s; thanks to the pandemic and other crises, it’s back – with a vengeance. Alexandra Karelina’s film, superbly shot by Egor Protsko, treats this genre in an experimental way, flashing cryptic images and offering bottomless scenarios of social breakdown.
Director
Sirens drone over the city, announcing a state of emergency involving “disturbance of the electromagnetic field”, while individuals clandestinely fiddle with soldered bits of leftover technology. The cyberpunk mode of dystopian science fiction did not end in the 1990s; thanks to the pandemic and other crises, it’s back – with a vengeance. Alexandra Karelina’s film, superbly shot by Egor Protsko, treats this genre in an experimental way, flashing cryptic images and offering bottomless scenarios of social breakdown.
Screenplay
Video by Alexandra Karelina and Ivan Yakushev refers to Dostoevsky's deep interest in borderline states—primarily death, but also lethargy. In Bobok, the narrator, out of boredom, goes to a funeral of a distant relative. Later, taking thought, he lies down on a tombstone and begins to hear the dead, who continue to talk to each other as if by inertia. The authors of the film translate imagery and tone of this story into a ritual action. Abstract space of fabrics, industrial materials, and human body transforms and disintegrates, blurring the line between living and inanimate.
Director
Video by Alexandra Karelina and Ivan Yakushev refers to Dostoevsky's deep interest in borderline states—primarily death, but also lethargy. In Bobok, the narrator, out of boredom, goes to a funeral of a distant relative. Later, taking thought, he lies down on a tombstone and begins to hear the dead, who continue to talk to each other as if by inertia. The authors of the film translate imagery and tone of this story into a ritual action. Abstract space of fabrics, industrial materials, and human body transforms and disintegrates, blurring the line between living and inanimate.
Director
The film about the legend of Japanese experimental rock Keiji Haino reveals the veil of mystery surrounding the musician for all 50 years of his career. Haino's reflections on music, culture and life, recorded after a performance in Moscow in November 2019, are interspersed with fragments of the performance itself.
Director
The film’s main protagonists are household items of the 1950s-1970s shot on film. Their path goes from the written to the erased. From the clear to the forgotten. Obsession with the past — this is their space. The images gradually become and blurred down to pure emotion. Nothing can be saved, and it is impossible to return anywhere. This is a film where the characters take the stage for the last time.
Director
The film is about the flickering time of travel in unfamiliar space. This video sequence, sound track and text, communicating with each other through roll calls, resonances and random coincidences. Together they form an unstable object, a movie about architecture and music, immovable and racing.
Editor
Five of the six heroes of the film came to Kazan from different parts of the earth to go beyond their fear and for the first time openly declare their HIV status by running a marathon in a special uniform. For Deanna, who flew in from Australia with her 70-year-old mother, talking about her diagnosis is a daily job throughout her life. She is an example for the American Sean, who prepared for the "coming out" long and carefully. Seam is sure that his parents in an Indonesian village will hardly ever know about his participation in the Open Faces team in distant Kazan. Zhandos, a young doctor from Kazakhstan, only worries about how the news will affect his mother.
