Shakespearean theatricality meets the subtlety of Kathakali subverted in the dramatic space of street theatre to give birth to a performative 'Caliban'-Khelkali- a hybrid act of articuling the post-colonial irony of contemporary India.

This French agitprop ode to the Palestinian struggle was thought lost until recently rediscovered in the Third World Newsreel collection by archivist Draye Wilson. Composed of still photographs and a bit of Vietnam footage from Joris Ivens, its re-emergence echoes a call for global solidarity.

Sentient self-driving car Vanguard-3181 stands trial for attempting to murder their parent company’s CEO. Rendered from the perspective of a surveillance drone, the project explores the legal and existential dilemmas that emerge from self-aware AI. —Lawrence Lek

Trees and natural artefacts disappear in the flicker effect of landscape compositions where sweeping branches carve moving structures into the viewer's memory, and the transformations of living image threads remind us of the inexhaustible visual exuberance of meadows. —Canyon Cinema

A misty afternoon returns a Mapuche couple to their wedding video. In their civil ceremony, they are noted as one of only two couples married in the indigenous language of Mapudungun. —Fernando Saldivia Yanez

Days after the 2022 Philippine elections, a filmmaker lies to the police about making a film, just when a protest was put to a halt. Upon the retrieval of his deleted recordings of landscapes, some Filipino children began to experience a spectral figure from the dark side of history — which have taken away their ability to read and speak, and their innate sense of local language, as vengeful spirits escape and are reborn through an oceanarium underground somewhere in Manila. —Gio Lingao

typhoon diary 风球日记 travels through various dream-states to explore the narrator’s personal connection to rain as a medium for both dissociation and transformation.

California continues to destroy and rebuild itself. This collage film takes a surgical approach to carving through 60 years of California’s historical violence. It comprises footage of the L.A. riots, slaughterhouses, wildfires, mid-century Malibu, and 90s’ newsreels to unveil a cataclysmic future predicated on cycles of rebirth in the West. —marlow magdalene

Glances at an emptied apartment in Milwaukee drift into a psychodrama confronting fears of death and loneliness. Through the use of in-camera experiments, fractured imagery inquires into the hauntings and mysteries of the everyday. —Matt Feldman

A dragon dance troupe, an aikido class, an ice skating rink. Three scenarios or scenes through which the sensation of falling, or learning to fall, become metaphysical ruminations on modes of existence that draw strength from letting go.

Part of the trilogy “It’s Just Business, Baby,” Let's Make Love and Listen to Death from Above examines the histories of various forms of body labor across the Chelsea district, specifically foregrounding the act of cruising and public sex. The film (like the trilogy) intentionally lack a soundtrack to have audiences follow what the image is doing rather than the sounds associated with the image (specifically sex). —Ayanna Dozier