A man in the subway talks about his fight with corruption, about the corporation people who killed his family and now want to silence him forever. Images of a modern city, scenes from the life of an ordinary Chinese family, and archival footage are accompanied by Tibetan and Western music, including “Lacrimosa” from Mozart's “Requiem,” as well as themes from the “Foundation” cycle by Isaac Asimov. A universal tale about civilisations.
The bodies of parents grow old. The mind of an adult child refuses to accept these changes. Daniel Bunnik speaks about this directly in his diptych about his father and his mother. Shadow obscures the most drastic elements of the picture, the lighting is discreet. The author's mum has strategies for walking down the stairs – comical, in a way. The weight of the body is still bearable for its owner. For whom is this weight more difficult to withstand: for the parent or the child? The child keeps rebelling and the parent must accept it? The burdens of rebellion and acceptance is counterbalanced by the final scene.
This three-minute film is marked with cultural “isms” of the past two centuries. This can be taken both as its fault and its merit. The daring swimmer submerges and emerges, alone against the water's current, but is she actually against the current of meanings produced in the audio layer? The fear of being overwhelmed by them is indeed a bother, one wishes to escape, and the current is relentless. It makes its way mercilessly into the ears with its monotonous rhythm. The framework for this performance was made with the “rhythmisms” of several artistic generations.
An analysis of modern-day capitalism, definitely surpassing everyday media coverage. The authors have interviewed economy experts, offenders, and activists fighting for change. The analysis is aggressive – due to its content, which can be an unpleasant surprise for the meek (the economic news receivers unskilled at analysing modern capitalism – most of us, that is), as well as its grotesque form. The absurdity and horror of economic reality wittingly presented through animations and talks taking place in a virtual pub.
A metropolis pictured from the perspective of a cemetery located on Hart Island in New York. Since 1689, the 18-hectare area served as a burial ground for the homeless, children, newborns. The images of the island – a deserted, cluttered place ideal for a population of wild birds – are accompanied by a dry report on the number and headcount of the transports of the deceased, and on the system of arranging bodies in mass graves. Metropolises and civilisations have their cemeteries bereft of plates or memorials, and their junkyards – literally and figuratively.