Four people and the time they spend in an elevator. Inspired by everyday life and by the difference in people‘s behavior when they are alone, in contrast to the socially acceptable behavior that individuals adopt when in public space and especially in the confined and always awkward setting of an elevator.

The title of this video, taken from the texts of the architect Kengo Kuma, suggests a way of looking at everything as “interconnected and intertwined” such as the historical and the present and the tool and the artefact. Images and representations of two structures in the Portland Metropolitan Area that have direct and complicated connections to the Chinookan people who inhabit(ed) the land are woven with audio tapes of one of the last speakers of chinuk wawa, the Chinookan creole, chinuk wawa.

In the anticline of Estremoz-Borba-Vila Viçosa in Alentejo, is located one of the oldest and most productive marble extraction industries in Portugal. The movie approaches the problematic of the transformation of the environment into commodities, from a point of view that intends to be that of the stone itself, in which we can find the colossal quarries, some more than a hundred meters deep, thus exposing these monumental scars.

Sampled FM radio transmissions from around the earth and their landscapes as viewed by satellite. The fragments are heavily cross-pollinated to produce an omnipresent survey of our relentlessly witnessed world.

Minutes before take-off a situation occurs preventing an airplane from leaving. A passenger refuses to sit down in an attempt to prevent the deportation of a man inside the plane. The pilot suddenly finds himself in a position where he has to take a political stand he has no interest in taking.

A middle aged lady observes the world of an Athenian neighbourhood from her balcony with mixed reactions from those she constantly watches. Until she is no longer there & that world changes forever.

Poetical work about sound in a small town in Slovakia. *Freefilmers is a collective of filmmakers and artists, originally from Mariupol, Ukraine.

Utilising a plethora of archival material, Ravel’s “Boléro” and pointed visual commentary, the filmmakers take us on a darkly humorous journey through the modern history of human labour, from industrialisation to globalisation.

Yannis’ mum is on her way to audition for a role as Shakespeare’s Viola, when she discovers that her young son has been left home alone. Through a series of phone calls, she fights to balance the most important roles of her life, whilst walking in the most controversial area of central Athens, Patision Avenue.

An intimate and personal reflection on the conditions of work in the 21st century, seen through the eyes of a bike delivery person. From nostalgia to frustration with swedish punk running in the background, this film immerses us in the personal universe of one of many workers of the so called “Gig Economy”.

Distant lights reveal the outline of a city. Illuminated ships cross the water with sleeping people on board and the night appears to become liquid. The sower of stars wakes them and travels with them through the city. They talk about this and that - and say goodbye to everything.

They party the nights away, craving excess and letting themselves go. When Marina once again goes too far, she knows her brother Sasha will save her. He spends his days training with the Olympic squad and is trying to steal his teammate’s girlfriend. The film captures the lives of young adults in Russia caught between drill and ecstasy, police checks and the desire to be there for each other.

The video work takes up the language of sales brochures and real estate advertisements, which are primarily directed at investors and future buyers. This language with its terminology is an expression of an increasing commodification of living.

In this poetic 2010 video piece, circular movements are forced to sync with the ticking seconds of a clock—creating a subtle tension between mechanical time and lived, “felt time.” With elegant simplicity, the film invites us to reconsider how we experience duration: as relentless measurement, or as something rich and subjective.

In Inside or Outside (Shells), the boundaries between inside and outside are constantly renegotiated. The film explores shells as both protective enclosures and fragile surfaces, questioning what separates safety from exposure, intimacy from isolation. Through shifting perspectives, the work examines how spaces shape us—and how we, in turn, inhabit, transform, and sometimes break through them.

In Berlin’s shifting cityscape, past and present collide: a baroque palace portal embedded in a GDR building, now home to a business school. A wanderer drifts through these layered architectures, reflecting on how power and memory are inscribed in stone. Juxtaposed with digital mapping tools that expose distortions of scale, the film asks: how do politics and devices frame our view of the world?

Through the lens of women’s experience, the short film examines public restrooms, standardised and secondary spaces that make participation in public life possible for some of us. A toilet attendant shares the experiential knowledge she encounters in her various workplaces -aiming to spark better discussions about the design of public restrooms.

“Pool Potentials” looks at open-air pools as rare urban spaces where people from vastly different backgrounds and realities of life come together. They are places of joy, confrontation, and exchange—temporary commons that embody the city’s social and cultural diversity. The film asks why these sites of connection only play this role in summer, and imagines what it would mean to open their potential throughout the year, transforming forgotten seasonal spaces into lasting arenas of encounter.

In Ressource Plattenbau, architects Tobias List and Philipp Preiß confront the vast legacy of post-war prefabricated housing in Berlin. Through immersive, site-based research, they live briefly in three distinct Plattenbau neighbourhoods—exploring how these massive residential estates might be revitalized. They sketch from within the blocks’ interiors and collect the voices of residents to imagine how transformation, densification, and sustainable reuse can convert these once-monolithic structures into socially vibrant, meaningful living environments.

In State-Theatre #3 Berlin, the Staatsoper Unter den Linden stands as a silent witness to Germany’s shifting political landscapes—from the Kaiserreich to National Socialism, and the GDR. Through its grand architecture, now under reconstruction, the film brings the workers into the frame—shifting from industrial actants to performers in a theatrical tableau. With an evocative blend of urban history and staged human presence, the work probes the fragile relationship between buildings and the bodies that inhabit and transform them.

In “The Last Mile,” children and young adults set out to uncover the hidden ties between labor, energy, migration, consumption, supply chains, and mobility. Their journey takes them from a logistics hub in Brandenburg, carrying containers by public transport into the heart of Berlin. Through this simple yet striking act, they envision how the “last mile” of delivery chains might unfold in a city where diesel has disappeared.