Video on the Beach I: Beyond Space

Found & Lost, Reza Rasouli, Austria, 2025, 17’22’’

ComputerVision.py, Lenart Sušnik, Slovenia, 2026, 3’42’’

DEATH – An Introduction for Beginners: A Handbook with Regulations, Norms, and Useful Tips. Third, Revised Edition, Martin Horvat, Slovenia, 2025, 24’03’’

Our Lady of Rot, Bibi Erjavec, Slovenia, 2025, 5’08’’

Grandma Nai Who Played Favorites / Chao Somnop Chet, Chheangkea, Cambodia, France, USA, 2025, 19’

Samba Infinito, Leonardo Martinelli, Brazil, France, 2025, 15’25’’

Stop!, Brina Fekonja, Slovenia, 2025, 2’20’’

When I Was Little, I Wasn’t Afraid / Toen Ik Klein Was, Was Ik Niet Bang, Guido F. G. Jeurissen, The Netherlands, 2025, 20’ 

The afterlife or the other side is generally understood as a place of the end, but it can also be read as a specific space of alienation and conflict. In its original meaning, the idea of the afterlife offers comfort in difficult times, but if we try to conceive it physically, it can also refer to a foreign place beyond our home. DEATH – An Introduction for Beginners: A Handbook with Regulations, Norms, and Useful Tips. Third, Revised Edition humorously tells the story of the deceased protagonist being trapped among the living. The Cambodian comedy Grandma Nai Who Played Favorites depicts the grandmother’s idyllic afterlife, which she temporarily leaves when her grandson finds himself in trouble. The Brazilian film Samba Infinito depicts a nighttime, carnivalesque reunion between a brother and his deceased sister. Our Lady of Rot places us in a post-apocalyptic world of living skeletons, while the Dutch children’s adventure film When I Was Little, I Wasn’t Afraid tells the story of a young boy’s encounter with his mysterious neighbour, who turns out not to exist in the same timeline. In the physical sense, the protagonist of Found & Lost also finds himself on the other side – an Iranian gentleman living in Vienna with his family and facing the constraints of a new, strict social structure. The animated experimental essay Stop! explores the artist’s changing inner world in contrast to a static social reality, while the experimental ComputerVision.py transitions from the analogue world of images to a digitally pixelated afterlife. On the whole, the programme offers a multilayered exploration of the coexistence of parallel worlds.