Love, Dad, dir. Diana Cam Van Nguyen, Czech Republic, Slovakia, 2021, 12'42"
A short film about ties and gaps between a child and a parent. The author rediscovers love letters her dad used to write her from prison. That love seems to be gone now. She decides to write back in hope to find the connection again. She puts in writing what could not be said: blaming him for family´s break-up but also trying to understand.
Patient's Mind, dir. Zhiheng / Wang, China, 2022, 6'05"
"Patient's Mind" is a multi screen experimental animation using circular narration.
The metaphor of doctor-patient relationship is used in the work, which shows the process of the protagonist's inner self and superego, the fight for the subject right between the present and the "preset future", and the endless cycle between the present and the "preset future" in the doomed failure of self salvation. In the narrative, the whole story is divided into five parts and placed on five screens. Make the content of five screens form a big cycle in narration, and the content of a single screen form a small cycle in editing, and make the five screens have relevance according to different clues in content.
Slow Light, dir. Katarzyna Kijek, Przemysław Adamski, Poland, 2022, 10'59"
A story of a man who can only see the past.
Kate Is Not Alone, dir. Viktória Réka Szekér, Hungary, 2022, 6'55"
Kate Is Not Alone is an animated short which tells the story of a sexual assault committed at a school using the visual metaphor of a sinking ship. We get to know Kate, the assault her classmates committed, and the lack of consequences her attackers faced in the flawed institutional system.
On the bottom of the laundry bag, dir. Adele Razkövi, Austria, 2021, 7'
Adele Razkövi’s short film converges on a common myth—the empty laundry bucket. Starting from the documentary, most likely autobiographical, and in any case philosophical question of what might be hiding at the bottom of the laundry basket if it were ever to be reached, the protagonist positions herself for the leap. The leap into the supposed emptiness that turns out be an explosion of colors, materials, and sounds. Free from constantly dirty laundry—soaked by “tears, sweat, and love juice”—the protagonist swirls through a psychedelic round dance of colorful clothing, which as cloud and tangled ball let us only imagine their original purpose.
Miracasas, dir. Raphaëlle Stolz, Switzerland, 2022, 13' 51"
In the 30's, a lost village of South America wishes to perpetuate its strange traditions... The mayor has published an ad in the region: "Seeks corpse to enlarge Miracasas". Freshly murdered, Ernesto is the lucky one and participates in spite of himself in his carnival-like burial. The gathered villagers celebrate the event with passion, waiting with greed for the life brought by the death.
Steakhouse, dir. Špela Čadež, Slovenia, France, Germany, 2022, 9'30"
The steak has been marinating for a few days now. The pan is heated. Franc’s stomach is rumbling. But Liza’s co-workers surprise her with a birthday party. Will she be home on time?
