Year six: virtual Selection
Watch from anywhere April 29-May 3, 2026. If able, please consider attending a screening in person or donating to maintain the viability of the free virtual selection.
wave ∞: watch from anywhere
A Bundle of Silences (Sofía Gallisá Muriente, 2026, 24min) / Penkelemes (Onyeka Igwe, 2025, 19min) / A Shrimp’s Daily Rehearsal (Ka Ki Wong, 2026, 10min) / My Structuralist Film (Angelo Madsen, 2026, 6min) / Injured? (Eislow Johnson, 2026, 14min) / Twin Snakes (Lev Kalman, Whitney Horn, 2026, 15min) / phototropes (Blanca García, James Devine, 2026, 3min, Super 8mm) / Flowers for an Old Shrine (Long Pham, 2025, 6min, 16mm) / Archura Leaves the City Forever (Yusuf Demirors, 2026, 12min) / To Summon a Seer (Alan Medina, 2026, 8min) / 逆立ち逆立ち : If pinholes were right side up, I would be doing handstands (Kioto Aoki, 2024, 3min, 16mm) / An Afternoon with a Gnawa (Meena Nanji, 2026, 12min / It Must Be Because I Decided to Leave (Zhuoyun Chen, 2026, 19 min) / Atash (Thirst) (Parine Jaddo, 1995, 14min) / Anomalies in a Landscape (Félix Caraballo, 2025, 8min, 16mm) / Branches From Concrete (Zhou Zhenyu, 2026, 14min)
A Bundle of Silences
Sofía Gallisá Muriente, 2026, 24min
A Bundle of Silences is an experimental documentary that circles around the 1983 Águila Blanca heist, when the Puerto Rican pro-independence revolutionary group Los Macheteros expropriated $7 million from a Wells Fargo depot in Hartford, Connecticut. At its center are two figures who remain out of reach: Víctor Gerena, the Puerto Rican employee who carried out the robbery and vanished beyond the FBI’s grasp, and his mother, Gloria Gerena, a community organizer, social worker and advocate for bilingual education who passed away in 2022. —Sofía Gallisá Muriente
A Shrimp’s Daily Rehearsal
Ka Ki Wong, 2026, 10min
During a casting session, an actress auditions to play a shrimp. As her performance unravels, so does her certainty. Watching from behind the glass, the shrimp begin to question not only her, but also what it means to be represented — and whether something truly real can ever be performed. —Ka Ki Wong
Injured?
Eislow Johnson, 2026, 14min
Need help? Crashouts, manifestation influencers and injury lawyers collide in this breakneck ride through the Midwest. 50 years after attorney ads were first legalized in the U.S., their ubiquitous self-portraits (allegedly) invoke a churn-and-burn economy of volume, velocity, fears and veneers. —Eislow Johnson
phototropes
Blanca García, James Devine, 2026, 3min, Super 8mm
Finding accord amongst the photosensitive inhabitants of Frankfurt's Palmengarten as they absorb, transform and transfer the late summer light. Edited in camera. —Blanca García and James Devine
Archura Leaves the City Forever
Yusuf Demirors, 2026, 12min
A lost forest spirit named Archura explores New York and tries to find a home while confronting an urban landscape that is rapidly taken over by luxury developments. —Yusuf Demirors
逆立ち逆立ち : If pinholes were right side up, I would be doing handstands
Kioto Aoki, 2024, 3min, 16mm
A short in-camera sequence of play between the filmmaker and a matte box.
The inversion of the body is a familiar and natural state in gymnastics, where handstands (逆立ち / sakadachi in Japanese) are an essential part of the physical lexicon. Camera obscuras share a similar state: the image is upside down. In both handstands and camera obscuras, the inverted body is the correct orientation. —Kioto Aoki
It Must Be Because I Decided to Leave
Zhuoyun Chen, 2026, 19 min
Anomalies in a Landscape
Félix Caraballo, 2025, 8min, 16mm
Anomalies in a Landscape is a film in four tableaux – four audivisual landscapes that unfold in all their strangeness. Spices, leaves and local seaweed reveal and imbue with their hues this film shot and developed on the very banks of the Magtogoek/St. Lawrence river. —Félix Caraballo
Penkelemes
Onyeka Igwe, 2025, 19min
The University of Ibadan is an example of the university as a colonial project, one that sets the standard of success, of living the good life - the ‘civilised’ life. It was created in 1948 in south western Nigeria to produce docile and compliant colonial subjects, there to serve the interests of the imperial core. Post national independence, it flourished - proffering a new image conjugated by Nigerian thought and culture for a brief and bright moment. But then war came, British funding was withdrawn, and Nigeria’s economic independence was funneled into Western mandated streams, draining the university of its promise. Now it has become something of a shadow of its former selves, from the ‘Good old days to harsh reality’. And at the same time it is also the protagonist in a real life fairytale of social mobility that provides many, including my mother, the opportunity to assert an identity in contradiction to a predestined path. Allowing for self possession, mobility, independence and new horizons. How to reconcile these multiple and contradictory realities? What could this poisoned colonial chalice become if it is made in another image? Can it be made otherwise? Do we need to start again? What is an African university? How do I tell the story of the University of Ibadan? —Onyeka Igwe
My Structuralist Film
Angelo Madsen, 2026, 6min
How shall I cater best to your desire for me to be visible? Set up as a confessional-cum-guided meditation, My Structuralist Film uses performance artist Tehching Hsieh's One Year Performance (“Time Clock Piece”) as a framework to illustrate the filmmaker's (presumable) insides. How thoroughly should a trans body want or need to be visible? On what terms is the filmmaker obligated to narrativize, perform, or even fabricate visibility for the sake of an audience? Considering the limits and limitations of disclosure, this project positions the act of looking not as an offering or an exchange, but as an unyielding neoliberal, capitalist thirst to consume the trans body, to literally see from the inside. —Angelo Madsen
Twin Snakes
Lev Kalman, Whitney Horn, 2026, 15min
Like two snakes chasing each other’s tails, time wriggles forward and backwards in Lev Kalman and Whitney Horn’s surrealist satire. In 2001, a pair of young investigators wander a mansion that is haunted by both its eastern relics and their western collector. Meanwhile, in the present day, they are watched by The Therapists, two Lululemon-clad researchers following metaphysical wellness rituals. A mysterious lo-fi kaleidoscope, with cameos by Condoleezza Rice, Shah Jahan, and Brendan Fraser. —Lev Kalman, Whitney Horn
Flowers for an Old Shrine
Long Pham, 2025, 6min, 16mm
Light cracks and chemical abrasions on a celluloid wandering. Each immutable essence disintegrates with every frame, slowly waning into no-selfhood. The old man and the old woman wilt in the candlelight. —Long Pham
To Summon a Seer
Alan Medina, 2026, 8min
Apertured voyages, orbs of light, and memories of migration summon a clairvoyant into the big city, confounding a sense of place through blurred and distant recollection. —Alan Medina
An Afternoon with a Gnawa
Meena Nanji, 2026, 12min
The Gnawa inhabit ordinary and non-ordinary worlds, their music and song creating spaces passageways between the two. This experimental non-fiction video gives a glimpse of such a passage through a brief encounter with Mustafa, a musician who lives in Rabat, Morocco. —Meena Nanji
Atash (Thirst)
Parine Jaddo, 1995, 14min
A story within a story, fragments from the filmmaker's life in post civil-war Beirut lead into a fictional tale of two lovers and fatal madness. Soon, the male narrator's authority is interrupted by a female voice who recounts her own version of the story. —Nadia Shihab
Branches From Concrete
Zhou Zhenyu, 2026, 14min
In my hometown, Hengshui, in northern China, a shopping center that was never completed has been left abandoned. Wild plants grow in the building's interstices. Local residents have taken over certain spaces, transforming them into leisure areas for ping-pong, dance, boxing, etc.
One day, from my window I noticed that a once upright wild tree had leaned over, as if dying on the concrete roof. —Zhenyu ZHOU
