Indefinite Pitch
James N. Kienitz Wilkins, USA, 2016, DCP, 23m
A procession of black and silvery white stills of New England’s Androscoggin River unspools alongside an anxious monologue on movies, memory, and minor history.

Europa, Mon Amour (2016 Brexit Edition)
Lawrence Lek, UK, 2016, digital projection, 14m
U.S. Premiere
This guided, two-part meditation on Brexit unfolds in a computer-simulated hallucination of the London district of Dalston, a place with no people but filled with drones and fires.

Strange Vision of Seeing Things
Ryan Ferko, Canada/Serbia, 2016, DCP, 14m
U.S. Premiere
Time-spaces of post-Yugoslav Serbia: the empty lobby of a defunct industrial conglomerate’s headquarters in Belgrade; an unseen man describing tripping on acid during the 1999 NATO bombings; a mother and her young son visit ruins left by that same campaign. At first they appear in crisp HD, but cracks form, revealing dimensions beneath the smooth surface.

Ismaïl Bahri, France/Tunisia, 2016, digital projection, 32m
U.S. Premiere
A white haze flutters on-screen, accompanied by street sounds in Tunis. Indistinct shapes appear as passersby engage the cameraman about his project and their lives. He tells one of them, “The wind does the editing.”