09/05/1982 (2025) by Jorge Caballero Ramos & Camilo Restrepo
Sunday, September 6, 2026, 2:30 pm
CROSSROADS 2026 – program 6
in the distance, quietly
Tomorrows Tomorrows Tomorrows. The stones speak. CROSSROADS day 2 begins with oblique visions of lost cities, forgotten and rediscovered, singing their songs across atmospheres. Memorials to unsung saints and survivors. Cryptic missives to future generations.
SCREENING:
Air (2025) by Alexander Barancheyev (Latvia); digital video, b&w, sound, 4 minutes. NECROPOLIS (2026) by Kevin T. Allen (US); digital video, color, sound, 9 minutes. nearer to thee in a triptych (2025) by Matt Whitman (US); 16mm, color, sound, 9 minutes. 09/05/1982 (2025) by Jorge Caballero Ramos & Camilo Restrepo (Spain); digital video, color, sound, 11 minutes. Veronique (Ein Friseursalon in Paris aus dem Barbieland) (2025) by Friedl vom Gröller (Austria); 16mm, b&w, silent, 4 minutes. Print from sixpackfilm. Dooni (2025) by Kevin Jerome Everson (US) & Claudrena N. Harold (US); digital video, color, sound, 8 minutes. Exhibition file from Picture Palace Pictures. Buried in the Snow 藏在雪裡 (2025) by Cherlyn Hsing-Hsin Liu (Taiwan/US); digital video, color, sound, 20 minutes.
TRT: 64 minutes
← 1 2 3 4 5 6 7 8 →
CROSSROADS 2026
*tickets coming soon*
Air (2025) by Alexander Barancheyev
A selection of memories, dreams and conversations from different places and of different people. Everything seems mixed and jumbled up, but is unified through a dynamic soundscape. A film-diary that jumps through time and space and finds connections between various sceneries and situations which ordinarily would not exist together. (Alexander Barancheyev)
bay area premiere
NECROPOLIS (2026) by Kevin T. Allen
A Stone Tape film inspired by the yellow fever epidemic in 19th century New Orleans, using analog camera techniques and contact microphones to excavate the material traces of trauma. Coined by archaeologist and parapsychologist T.C. Lethbridge, Stone Tape Theory posits that material objects record traumatic events of the past… and that they can be played back. (Kevin T. Allen)
US premiere
nearer to thee in a triptych (2025) by Matt Whitman
Structured as a devotional triptych, this film reflects on inhabiting a house filled with belongings left behind by deceased family members. Through close studies of organic remnants gathered from the surrounding landscape and veiled domestic spaces, it sits with the tension between care, avoidance, preservation and the impossibility of return. (Matt Whitman)
bay area premiere
09/05/1982 (2025) by Jorge Caballero & Camilo Restrepo
A deteriorated film, shot in 1982 in a Latin American country, presents a succession of everyday images, among which a few stand out that testify to the violent events that took place on May 9 of that year. Interspersed between the images, a man’s voice presents the official version of the events. Beneath its apparent banality, the film raises suspicion that what really happened was covered up. (Jorge Caballero & Camilo Restrepo)
bay area premiere
Veronique (Ein Friseursalon in Paris aus dem Barbieland) (2025) by Friedl vom Gröller
In Veronique, the filmmaker’s predilection for female portraits and her sense of perfect timing come together once again: she films the interior of the eponymous hair salon, whose clutter has grown over the years, and the three women who have worked there, always dressed in white. In mid-2025, the salon went out of business. What remains are the shots of the porcelain-like faces Friedl vom Gröller stares at until, behind small changes in facial expression and their gazes back at the camera, we begin to discern a shift from pose to personality. (Christa Benzer)
Dooni (2025) by Kevin Jerome Everson & Claudrena N. Harold
Dooni is the eulogy of the American soul-singer Sylvester (1947–1988) as told by the gospel singer and preacher Walter Hawkins. With the voice of Timothy Johnson. (Kevin Jerome Everson & Claudrena N. Harold)
Photo courtesy of the artists and Picture Palace Pictures.
Buried in the Snow 藏在雪裡 (2025) by Cherlyn Hsing-Hsin Liu
The world above ground and the world below. Having been here, yet never truly here. This is a film poem commemorating the passing of a dear friend from my youth. The poem was hand-engraved on a 400-foot-long roll of film. (Cherlyn Hsing-Hsin Liu)
north american premiere
Alexander Barancheyev (Latvia) is a 21 year old filmmaker, producer and cinematographer based in Los Angeles and Riga. By merging narrative and experimental film techniques, poetic imagery and sound, he explores the themes of human condition, the absurd in the everyday, and family. He is an upcoming senior at the California Institute of the Arts in the program in Film/Video.
Kevin T. Allen (US) is a filmmaker and sound-artist who makes ethnographically imbued films in Vietnam, Sri Lanka, India, Peru, Bolivia, Argentina, the Wild West, university laboratories and migrant farm worker communities. His sound-films often employ extended recording techniques, such as contact microphones, hydrophones and electromagnetic transducers, to interrogate culture as not exclusively human, but also inherent in physical landscapes and material objects. As a sound designer and re-recording mixer, he frequently collaborates with filmmakers who tread the blurred boundaries between fiction, nonfiction, ethnographic and experimental forms.
Matt Whitman (US) is originally from southeastern Pennsylvania and lives and works in Brooklyn. In the last year, his 16mm and Super 8 films have screened at Onion City Film Festival, Atlanta Film Festival, ICDOCS, No Name Cinema, UnionDocs, MIX NYC, Winnipeg Underground Film Festival, Cosmic Rays, Light Matter, CROSSROADS, Mimesis Documentary Film Festival, Brooklyn Film Festival and Light Field.
Jorge Caballero Ramos (Spain) is a filmmaker, researcher and author specialized in AI-driven storytelling. He holds a PhD cum laude from UPF and co-directs the postgraduate program in Film and Algorithms at UAB. He has led projects supported by institutions such as Sundance FI, Tribeca FI and the United Nations. His films have won Colombia’s National Documentary Award and have been showcased and awarded at festivals like Rotterdam, IDFA, SXSW, Visions du Réel and HotDocs, among others. His latest book, Artificial Imagination, explores the future of cinema in the algorithmic age.
Camilo Restrepo (Spain, b. 1975, Medellín, Colombia) has lived and worked in Paris since 1999. His films have been selected for major festivals such as The Director’s Fortnight at Cannes, Berlinale, Toronto, Rotterdam, Mar del Plata and New York. He has twice won the Pardino d’Argento at Locarno. Los Conductos, his first feature film, was part of the international competition Encounters at the Berlinale 2020, where it won the award for Best First Film.
Friedl vom Gröller (Austria): Born in London. She spent her childhood in Vienna and Berlin. From 1965–1969 she studied photography at the School of Graphic Arts. First films in 1968. 1971 Masters certificate and commercial atelier for photography. 2005 National award for photography. 1990 Founder and director of School for Artistic Photography, Vienna until 2010. 2006 Founder and director of School for Independent Film, Vienna. 2016 National award for film.
Kevin Jerome Everson (US) (b. Mansfield OH, lives and works in Charlottesville VA) is the Commonwealth and Ruffin Foundation Distinguished Professor of Studio Art and Director of Studio Arts at the University of Virginia. Recipient of the Guggenheim, Heinz Award, Berlin Prize, Alpert Award, Rome Prize and Creative Capital grants, Everson’s art practice encompasses photography, printmaking, sculpture and film, twelve award-winning features and over 300 solo and collaborative shorts. (photo credit: Sandy Williams III)
Claudrena N. Harold (born Jacksonville, Florida, lives and works in Charlottesville, Virginia) is Associate Dean for Social Sciences and Edward Stettinius Professor of History at the University of Virginia and specializes in African American history, Black cultural politics and labor history.
Cherlyn Hsing-Hsin Liu (Taiwan/US) is an artist, filmmaker and writer whose work is grounded in experimental literature, the conceptual avant-garde and philosophy. Liu’s works concern materiality across different contexts and eras, as well as its transformation, symbolism, decay and emotional resonance. For Liu materiality includes both living and inanimate matter. Through film, poetry, painting, sculpture and other media, she reflects the light and darkness of the world she lives in.