Motion At A Distance – Lindsay Packer and Andrew Yong Hoon Lee (Brooklyn, New York)
Color takes ephemeral form into the sound space. Shadow shapes emerge, interact and recede as luminous, temporary geometries call into the question the division between analog and digital ways of seeing and believing. Motion at a Distance is a stop-motion animation by Lindsay Packer. Optical sound by Andrew Yong Hoon Lee guides Packer’s light-based installation and performance work into the realm of film. Lee’s composition uses sound as material and is pushed and pulled much like paint on a canvas to create abstract textures that evoke mood and memory. 2019; 3 min.
Dysphoria – Eric Butler (Orlando, Florida)
An A.I. or person struggles to recognize the self in it's truest sense, from second to second, taking into account past, present, and future (Family pictures, watching screens, and the Free Will Thereom), all of which is happening in every moment. Warning: strobe effect. 2020; 5 min
Night Birds & Ghost Crabs - Robert Sickels (Walla Walla, Washington)
In pairing experimental imagery with interviews in which people from all walks of life discuss the gamut of that which keeps them up at night, Night Birds & Ghost Crabs documents those lonely late night moments we share with so many others the world over. As it turns out, though we are physically alone during the wee dark hours, we are united in sleeplessness with untold millions, and there’s a kind of reassuring comfort in that realization. 2019; 6 min.
Slideshows From The Peanut Gallery – Paul Rodgers (Lexington, Kentucky)
Slideshows From The Peanut Gallery is an experimental animation that examines this pathology of longing by producing a hyper-facsimile of the family photo. The process starts by digitally scanning Kodak slides that have some formal or conceptual relationship. The subjects are then digitally traced, cut out, and animated: a kind of forensic archeology in response to the photographic image that breathes life into the subjects—and conversely flattens and mechanizes them. The resulting animation is a dream-like, non-narrative reenactment of the past that echoes the fleeting and arbitrary nature of nostalgia and the corruption of memory, an uncanny slideshow for strangers. 2020; 8 min.
Patient’s Copy – Patrick Tarrant (London, England)
A hand-made reflection on the underconscious and on the illustration of ideas on plastic. This collage film comes about after the discovery, in my university office, of a thousand overhead transparencies used for teaching biology. A chemically induced gaze looks out over this archive while a light shines down on obsolete treasures, buried ideologies and the science of life. Patient's Copy focuses on the capacity of these acetate transparencies to not simply allow light to pass through them, but also to allow light to reflect off them. This suggests a new function for images that have not only been excavated from their pedagogical and technological moment but which, in their new fluorescent form, are both less plastic, and more plastic than ever before. 2019; 10 min
Bubble – Haonan Wang (Beijing, China)
This is an urban tale of love and sacrifice set in a mysterious restaurant hidden in an alleyway. On an ordinary night, a man eats a lot of herbal plants in front of a woman, transforming himself into the woman’s food. In Mandarin, subtitled. 2020; 14 min.
Knock, Knock, Knock – Arom Choi (Seoul, South Korea)
Knock, Knock, Knock follows Hana, a young woman who confines herself to a tiny box-like room. She interacts with the world by listening through the thin walls that separate her from her neighbors. Hana is consumed by thoughts of death, only to be confronted by an unexpected death. The room itself acts as an antagonist; the limited space and sound has the power to manipulate human emotion. In Korean, subtitled. 2019; 16 min.
Bella – Seth D. Myers, Sarah Stolar (Dubuque, Iowa)
A young female dancer travels on an emotional journey through psychological and physical landscapes to discover a crucial truth that lives within her. 2019; 18 min.