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Jenin Jenin, directed and co-produced by Palestinian actor and director Mohamed Bakri, includes testimony from Jenin residents after the Israeli army's Defensive Wall operation, during which the city and camp were the scenes of fierce fighting. The operation ended with Jenin flattened and scores of Palestinians dead. Palestinians as well as numerous human rights groups accused Israel of committing war crimes in the April 2002 attack on the refugee camp. Jenin Jenin shows the extent to which the prolonged oppression and terror has affected the state of mind of the Palestinian inhabitants of Jenin.

An exploration of human sentiments, but also a questioning of the reality of these feelings once they are filtered through the media. 6th Independent Vídeo & Interactive Phenomena Show

Portrait of a woman and her disappearance.

This is the first compilation of films by Jean Painlevé, spanning his career from his beginnings as an actor to his work as a filmmaker in the leadup to WW1. In Methuselah, an avant-garde play by Ivan Goll, Painlevé is both actor and producer. This version includes a soundtrack added to the “film” – five sequences that were intended for projection during the play – in the eighties, when Painlevé discovered Maxime Jacob's original score for the play. The music was originally performed by The Republican Guard Band. Lacking the funds needed to engage this famous band, Painlevé chose to have a piano version recorded.

1958 General De Gaulle pronunces -in a very convulse and tragic moment for an Argelia under rigorous represion and torture- its famous and demagogic “Je vous ai Compris” (I understand you). A reading on several audiovisual documents of that time gives to us an opposite meaning to that sentence. “Je vous ai Compris” now means and show us the real sense of the civilizational work of the western powers. Today so enthusiaticly renovated.

Shot in Cameroon and Brussels, Je ne suis pas moi-même explores the world of African antiquities and the contradictions in a European art market hungry for new tribal objects. Where do the African masks come from? What journey do these masks make before their unveiling in the windows of the biggest galleries or art collections in Europe? Who determines the economic and aesthetic value of these objects now that colonialism is supposedly dead' And then there's a continent called Africa, in need of economic resources and therefore willing to sell its cultural heritage or, if need be, to fake it. The authenticity of the objects becomes blurred when the people that once adored them start to sell them.

In the forest, the herd of deer turns against the hound dogs that have been chasing them so far. From this unusual chase, new landscapes arise from the ground. This collage drama was made after an idea from a 19th century engraving.