<3 / Less Than Three

Two elderly gays spice up their relationship with a series of sex games that include a quirky game of father and son. The protagonists not only talk about their sexual habits, but also even demonstrate them for the dispassionate camera. Depictions of intimacy in film are once again pushed to their limits.

“Have you ever stepped on an anthill and not given it a second thought?” asked a military drone pilot. Intimate stories of professionals about their routine everyday job: monitoring the movement of targets on the ground. Accompanied by almost meditative images from a drone’s perspective, the film poses an ethical dilemma regarding the consequences of pressing a single button.

During the Soviet era, Ukraine was a difficult place for members of the LGBT community, and even today the country remains less than welcoming to sexual minorities. Working with archival interviews of women from the past thirteen years, the film brings together two eras and thus contributes to a discussion of today’s situation.

A meditative exploration of the violent struggle for independence in southeast Asia is framed by excerpts from Sylvia Plath’s poem “Tulips”. The central theme is combined in a double exposure with scenes of butterfly metamorphosis. The entire meditation on the year 1965 is accompanied by Bartók’s Solo for Violin 3.DETAIL:As the light lies on these white walls, this bed, these hands.I am nobody; I have nothing to do with explosions. The Tulips, Sylvia Plath

This film gives one of the many refugees who were unjustly imprisoned in detention centers located close to European borders a chance to tell his story. His horrifying experience is reflected in the static, well-composed, deep focus shots, which reveal traces of lingering suffering in the abandoned buildings.

Technological innovations of the moving picture in the service of science – in this case, the atom bomb – as we watch preparations for an explosion from various points of view. The film is interesting in its origins: It was put together using solely publicly available footage from the online Prelinger Archives. The clock’s hand goes in a circle as it marks the time. Preparations complete. Cameras ready, the plane takes off, drums roll. A match is struck and burns, the bomb falls. The pressure wave, then close-up footage of flowing microorganisms.

A look at the Balkans migration route in December 2015. Throngs of refugees make their way to Dobova, Slovenia. They get on the waiting buses in an orderly fashion and enter the system. The Slovenian government has had the journey under control for a month. Confined to a single file line, the migrants go through checks, inspections, and wait for the next step.

They are happy together, but she gets a job offer in another country and he doesn’t want to go. He tries to sway her decision in his favour by offering to marry her… In its format, the film perhaps most closely resembles a music video, but besides music it also uses poetry and dance to tell its story. Shot on an iPhone 7 Plus. 

“(Where) do the places we remember exist?” asks Camila Ausente in the opening of her ten-minute documentary search for an answer to this question. The film combines repeating images from Mexico with oral memories of her father's childhood in Argentina.

Reality disappears before our eyes – all that remains is what’s preserved in our memories, the retelling of which allows us to bring it back to life. Camera in hand, the experimental filmmaker explores this abstract process in a stylized documentary with young boys in military uniforms and stories of war.

The goal the protagonist of the film has set for himself seems impossible to him: to contact his former partner in order to see his own son. On a deeper level, this video essay on what is and isn't possible unifies the footage it uses - videos freely accessible on YouTube and a monochromatic yellow filter through which they are presented.

The director revises a TV report which a local TV station shot with him and his family on the Rosh hashanah holiday in 1974. In the footage which seemed as an expression of interest in the Jewish culture at the time it was created, the author discovers antisemitic and racist tendencies. The title refers to a zoo where domesticated and tame animals can be fed and petted by the visitors.