A broken phone and the digital memory of a broken queer relationship. Through the careful manipulation of discarnate metal components and the filmmaker’s attentive look at an intimate archive, a fading first love surfaces. Loveboard is a playful reflection on what remains.
Hand-painted watercolours explore bodies, desire, and the tension between both in this experimental animated film. Due to an explosion of colour and movement that escapes classical animation, an unusual sensorial force is achieved. Alternating colours, lines, and density, the drawings question pornography and normative sexuality.
On the outskirts of the city, the new modern buildings are silent, and the motorway bridge drones. Birds are circling in the sky, and a young man, concealed by his hoodie, is riding his e-scooter along a park path. The only irritating element is the rifle over his shoulder. Cyclepaths conveys a mood of high alert, even though the disaster has, in fact, already happened.
Maryam Tafakory creates an intimate inner world that moves between the concrete and the abstract. Layers of found and original footage are superimposed to fill in some of the cracks, the deletions, the limits of representation. Mast-del is a love song that would never pass through censorship.
Manuel Muñoz Rivas turns the daily passage of a ferry on a Spanish river into a ritual crossing of sacred beauty, as the passengers’ souls wander through suspended narrations of everyday life.
At the time of writing, early 2026, the situation in Iran is completely incomprehensible to the outside world, but above all, life-threatening for its inhabitants. The dream of an Iran post-Islamic Republic is not only part of the online discourse, but also of the protests on the streets. This is precisely what Iranian visual artist Saleh Kashefi depicts in their award-winning video And How Miserable is the Home of Evil: accompanied by an oppressive soundscape full of dissent, Iran’s Supreme Leader (finally) falls.
