Video on the Beach V: Unfixed Space

Loynes, Dorian Jespers, Belgium, France, North Macedonia, UK, 2025, 25’03’’

Nazorjeva Street, Matevž Jerman, Rok Kajzer Nagode, Niko Novak, Slovenia, 2025, 11’27’’

Dollhouse Elephant, Jenny Jokela, Finland, 2025, 11’11’’

The Dark Hill, Vanja Miloš Jovanović, Slovenia, 2025, 14’37’’

Baby Money, Matjaž Jamnik, Gaja Naja Rojec, Slovenia, 2025, 15’13’’

No Contest / La Première Marche, Olivier Wright, France, 2025, 18’02’’

No Photos Please, Asiana Jurca Avci, Urša Rahne, Slovenia, 2025, 6’09’’

Women’s Club, Anđelina Petrović, Slovenia, 2025, 3’56’’ 

On Sunday, the Video on the Beach programme concludes with the fluidity of space and the people within it. This can be understood as instability, but with it come mobility, changeability, development, and the potential for transformation. The metamorphosis that emerges can signify a step forward, a step backward, or merely a change in form. Sunday’s programme begins with Loynes, which shows the absurdity of the human deciphering of legal decisions through a Kafkaesque case. With its documentary-experimental approach, Nazorjeva Street bids farewell to space, thereby allowing it to be reshaped anew. Dollhouse Elephant uses lively animation to depict the revitalisation of seemingly routine yet estranged neighbourly relationships. The Dark Hill builds tension through the gloomy and eerie atmosphere of space, which ominously foreshadows danger. In Baby Money, a failed robbery in a small town causes a change in the atmosphere among a group of friends, who must re-evaluate their mutual trust. In No Contest, the judo competition mat serves as a battlefield for the space and visibility of trans people. The programme concludes with the pair No Photos Please and Women’s Club, which, through a feminist lens, question who is allowed space and visibility on the dance floor of nightclubs.