World Wide Web (2024) by Tori DotNet 

Webs have a unique relationship with light. It is possible to peer through them, as a camera lens, to see light refractions and otherworldly distortion. They are also performance art and art installations. This is an attempt at documentation or perhaps artistic appropriation and a commentary on the historic spinster archetype through video editing and manipulation. (Tori DotNet)

I'm Not Your Monster (2025) by Karen Yasinsky 

I’m Not Your Monster is a hand-drawn animation composed of fragments rotoscoped from various films. It began with replacing Frankenstein’s monster with a person I know. The idea of fear creating violence inspired the project, coupled with ideas about the self, its construct and its relation to the body. (Karen Yasinsky) north american premiere

Slideshow (2024) by Janie Geiser 

Slideshow reveals moments in time in the lives of strangers. Strangers to me, but maybe not  to each other. Time and place are suggested—sometime before 1989, in the former East Germany, before the wall came down. Working repeatedly with these found images, I came to feel that I knew these people, as they emerged across multiple images of families at home, friends sharing meals, outdoor gatherings, travel, work, and school. However, I can’t really know them…. I  can only sense their acetate traces. (Janie Geiser) bay area premiere

This Isn't What It Appears (2022) by Heehyun Choi 

Among everything obscure in an image, there is always the camera. This Isn’t What It Appears reconstructs and radicalizes the ways to see and interpret archival photographs of Korean women taken in the 1950s by American soldiers stationed in South Korea. This film attempts to reveal the camera within the frame, not as an omniscient eye but as a reciprocal medium that subverts the hierarchy in an image. (Heehyun Choi)

It follows It passes on (2023) by Erica Sheu

This film creates a container for a private ritual to reconnect to Kinmen, a Taiwanese island, during the Second Taiwan Strait Crisis in the 1960s. The filmmaker reimagines her father’s childhood experience with the sparse memories he shared with her. The light was reenacted, the spirits were summoned. A tender gaze attempts to look through and experience beyond the light glares as if understanding a silent parent in the crack of the historical events. (Erica Sheu) bay area premiere

My Will And Desire Like Wheels Revolving (2025) by Alice Bommer

A short video that aims to connect Dante’s Purgatory to the process of printing photos in a darkroom. Shot on Super 8. (Alice Bommer) world premiere

Emergency Exit (2024) Friedl vom Gröller

Emergency Exit weaves its elements together with loose precision without tying them down…. In close contact with Brecht’s visually powerful text about the scorned hotel scullery maid Jenny and her revenge fantasies, the b&w 16mm images shimmer wildly and unsteadily: First, the a cappella singing sprays its venom over idyllic river views and snapshots of tourist groups of people on a historic bridge. (Searching for the emergency exit!) Then, for most of the film, there follows a solo portrait in two passes […] Standing in front of a bakery poster in her baseball cap, Angela Crupano looks as though she was pulled out of the crowd on the bridge by the filmmaker. However, the cunning wrath of Pirate Jenny is rhymed with above all the engaging seriousness with which Crupano returns the gaze of both cameras. (Joachim Schätz)

Full Out (2025) by Sarah Ballard 

In 19th century Paris at the Salpêtrière Hospital, patients were hypnotized on stage to reproduce the symptoms of hysteria for public audiences. Over a century later, high school cheerleaders are fainting en masse. (Sarah Ballard) bay area premiere