SET IV: KOD ŹRÓDŁOWY

The formation and history of Lake Baikal in Siberia are re-imagined with hand-made animation, featuring the voice of a Buryat woman who can still recall some words in her endangered Buryat-Mongolian language.

"Bergamot", also translated as "Buddha's hand", explores the binary mother-daughter relationship as it shifts as it grows. Buddha's hand and hand are similar but different, opposites but compatible, referring to the mother-daughter relationship, resembling but refusing to resemble, contradicting but adhering to each other, separating but connecting.

Mom always meticulously braided my hair tightly, so tight that it pulled a clear path on top of my head. But one day, she cut off my braids. I didn't want to resist, yet I had to accept it.

As I took my first steps forward alone, my stride faltered. Along the path on my head, I touched our unbreakable inner attachment, and the journey of female growth we were both unprepared to face.

Don Cannelloni is enraged. Somebody cut the good premium parmigiano of La Famiglia with cheap, pre-grated cheese! Now it is up to Tony Riga and Al Capenne to get Long John Sghetti to confess.

It is pouring down with rain at the funeral. There are many tears, too much wine, several woodpeckers and a handful of dreams to fill in the gaps.

A musical odyssey about trauma, technology, and the retreat of humanity into itself.

Taking inspiration from 20th-century avant-garde experiments in graphical sound generation, the entire image in O/S functions as an optical soundtrack. Abstract motion becomes sound. What you hear is exactly what you see.

When Mitch is clearing out the room of her recently deceased father, she finds an old family heirloom that brings up repressed memories. Now that her father is gone she must find a way to make her own peace with his passing and their complicated relationship.

Winter, 1942. Beyond the Arctic Circle, on the uninhabited island of Trofimovsk in the Laptev Sea, deported people struggle to survive. This is the place chosen by Soviet authorities to deport vast numbers of inhabitants from the occupied Baltic countries, Finland, Ukraine and elsewhere.

In this harsh, alien landscape, man is a mere speck. Against the backdrop of such majestic isolation, many thousands face the savage indifference and cruelty of nature. Always living on the edge, they must find a way to stay alive.

All experiences depicted are based on the unfaded memories of those who survived.

Andor Weininger (1899-1986) was a Hungarian-born painter, architect, and designer, founder of the orchestra at the Bauhausschool, and member of its scenic workshop.

A rare document of the artist’s relationship with the stage, music, and the circus is a 1922/1923 sketch consisting of 24 small ink drawings. Scribbled on a square grid, the design marks the keyframes of an unrealised animated film. If the animation were to be completed at the time, it would be known as the Bauhaus’ very first movie. The reconstruction you’ll see was produced 100 years after Weininger’s original synopsis.