Dear all,
The Besides the Screen 2020 Festival program begins this Saturday with an
online screening of Trace Evidence, a documentary by artist and researcher
Susan Schuppli, director of the Center for Research Architecture of
Goldsmiths', University of London.
The Trace Evidence video trilogy explores the geological, meteorological,
and hydrological appearance of nuclear evidence secreted within the
molecular arrangement of matter. Its focuses upon three events: the
unearthing of ancient nuclear reactors at the uranium mine site in Oklo,
Gabon in 1972, the discovery of Chernobyl’s airborne contaminants at the
Forsmark power plant in Sweden in April 1986 and the 7,600 kilometre five
year journey of Caesium-137 from Fukushima-Daiichi through the waters of
the Pacific Ocean to the west coast of Vancouver Island.
The festival program is packed with amazing video-essays, experimental
animations and documentary shorts from all over the world. Check the full
synopsis at our website and follow the scheduled playlist on YouTube.
Shorts sessions take place via live streaming every Tuesday and Thursday in
August. Sessions begin at a set time (12pm EST / 6pm CET) and loop for
eight hours straight, giving plenty of opportunities for people in
different time zones to catch up. But don’t miss it! In true film festival
spirit, each session is exclusive and won’t repeat any other day.
Full program:
http://besidesthescreen.com/2020-festival-screenings/
YouTube Playlists:
https://www.youtube.com/playlist?list=PLIbjoLu-19jHQGZ0F9U6_2HszKzTsRdMz
Facebook events:
https://www.facebook.com/events/331392811216822/
https://www.facebook.com/events/593363414696398/
Participating shorts: Lignano Pineta (Anna Dabrowska, 2020), A
Cristalização de Brasília (Guerreiro do Divino Amor, 2019), Just Like Us
(Jesse Mclean, 2013), Kopacabana (Khalil Charif & Marcos Bonisson, 2019),
Earthsatz (Dylan Cote & Pierre Lafanechère, 2019), Serial Parallels (Max
Hattler, 2019), Spectrum (Jeroen Cluckers, 2019), Triptych (Sergey Maslov,
2020), Mei’ei (Ghost World IV) (Jerome Boulbes, 2019), Abstract Horror
(Franz Milec, 2019), She Can Run, She Can Hide (Victoria Vanderpool, 2020),
The Philosophy of Horror (Part I): Etymology (Péter Lichter, 2019), CAN’T
ANSWER YOU ANY MORE (ON FACES) (Matt Whitman, 2019), On clear day you can
see forever (Ian Haig, 2019), swiping compressed filtered love (et enfin,
permettre l’incontrôlable) (Marie-Eve Levasseur, 2019), Even Asteroids Are
Not Alone (Jón Bjarki Magnússon, 2018), Breakdown (Daren Kendall, 2020),
Persistent Disturbance (Laurien Bachmann & Sebastian Six, 2019), Two
(Vasilios Papaioannu, 2018), Al Bahr (Fairuz Ghammam, 2018), 18 (Mikhail
Zheleznikov, 2019), Power Trip (Christopher Boulton, 2018), Reproduction
Interdite (Johannes Binotto, 2019), Hard (Luksuz Produkcija, 2019), Which
Image (Carla Miguelote, 2018), Recoding Art (Bruno Moreschi & Gabriel
Pereira, 2019), Cirkut/Canadettes (Sara Angelucci, 2019), Searching for the
Perfect Gentleman – an investigative journey (Lena Windisch, 2019), 2006
The Only Year That I Remember (Alberto Van den Eynde, 2019), At Home But
Not At Home (Suneil Sanzgiri, 2019), We Love Me (Naween Noppakun, 2017),
7FF On¢idia (Ж, 2017), IWantToBeACyborg (Fabiola Larios, 2019), En lo
Virtual (Fabiola Larios, 2018), EXIsT (Mónica Delori, 2016), O rio escapa
(Eduardo Makoszay Mayén, 2019), Sueño de casa (Amauta García, 2018), Terra
Incognita (Juan Covelli, 2019), Primitive Geometry (Alper Durmaz, 2018),
Skinned (Francesca Fini, 2018), Pesste (Federico Lamas, 2019), Violent
Equation (Vassilis Konstandopoulos, 2019), The Gods of Tiny Things (Deborah
Kelly, 2019), .MP4 (Kadavre Exquis, 2019), Angklung Life (Michael Vasquez,
2020) Loor-Leigh Woods (Theo Scott, 2019), Obstacle (Arnaud Laffond, 2016),
The FlatNet (Mikhail Maksimov, 2020).
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