‘What are we if not a brief balance between actions that are not specifically human?’ For this Director’s Commentary, Lorena Solís Bravo weaves together biological research, poetry and queer sensibilities of care into a beautiful audio essay.

For this Director’s Commentary, Aukje Dekker reads the e-mail she wrote to Steve McQueen in 2016, and dives into McQueen's Dead Pan (1997), which in turn is a remake of Steamboat Bill, Jr. (1928) by Buster Keaton, of which her own DEADPAN is an reenactment.

Hsu Che-Yu secured the body of a dead rabbit from the animal research facility where his grandmother used to work in her youth. Together with scriptwriter Chen Wan-Yin and a glove puppeteer, they made the rabbit come alive– as imagined by humans.

In a beautifully timed spoken essay, Kévin dives into the theory behind the ever-shifting landscape he says he will continue developing over his whole life.

In this special version of tɯ:nar tɯ:n:a:q ihijbit for our Director’s Commentary series, sata taas members speak to, or with, the video, invoking the solidarity between Indigenous peoples of the Arctic and the land, the spirits, animals and plants they share territory with. 

‘What are we if not a brief balance between actions that are not specifically human?’ For this Director’s Commentary, Lorena Solís Bravo weaves together biological research, poetry and queer sensibilities of care into a beautiful audio essay.

For this Director’s Commentary, Aukje Dekker reads the e-mail she wrote to Steve McQueen in 2016, and dives into McQueen's Dead Pan (1997), which in turn is a remake of Steamboat Bill, Jr. (1928) by Buster Keaton, of which her own DEADPAN is an reenactment.

Hsu Che-Yu secured the body of a dead rabbit from the animal research facility where his grandmother used to work in her youth. Together with scriptwriter Chen Wan-Yin and a glove puppeteer, they made the rabbit come alive– as imagined by humans.