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Be there in time. We recommend that you arrive at least 20 minutes prior to the start of the screening.
The original video is filmed again and again.
Pixel generation(s)
2026
Sergey Murashov
World Premiere
An essay film on deprivation, in which physical isolation becomes a space for inner escape.
Cycle Centrifuge
2026
Elizaveta Zharikova
No Premiere
Sourceless is based on a single short video fragment capturing glints of light on water. Through repetition, layering, and blocks of colour, the image passes through a series of shifting states, revealing an open, almost infinite perspective within a single captured moment.
Sourceless
2026
Alexey Smolin
World Premiere
How Now, House? investigates our yearning to leave traces behind through the prism of one house in Rotterdam. Using archives, personal memories and the philosophy of time, the film questions whether a space can ever really belong to one person, or time period, at all.
Continuously falling pitches – descending into infinity. Jung An Tagen’s A Flock of Rotations perfectly encapsulates these figurations of descent into deep layers of matter. First, there appear checkerboard-like grid arrangements whose rapidly changing individual elements reveal ever new vistas of what supposedly lies beyond. Horizontal movements of the entire image matrix, interspersed with vehement crisscrossing and transverse progressions or increasingly fine-grained signal resolutions, play out on a vector space that seems to penetrate into ever-finer particle spheres, but ultimately always ends up back at itself. At the same time, the insistent soundtrack follows the principle of the so-called Shepard tone, where one thinks one perceives a constantly falling (or rising) frequency, but which in reality is a pitch that remains unchanged – the result of the skillful blending of several sine waves, each one octave apart. 

The crafty interconnection of the two sound and image registers makes you believe that you’ve been caught in an endless downward spiral, while in reality you are going around in circles. These recursive loops, which can only be discerned indirectly or retrospectively, are broken up by harsh, monochrome flickering sequences, to which the acoustics adopt an appropriately matching staccato. But the stuttering itself is merely a transitional phase, not an analytical counterpoint, and so the regressive storm picks up speed again, causing red-white-and-black grid structures to plunge into virtual abysses, vector columns to run into nothingness, and staircase patterns to collapse in on themselves. Towards the end, it becomes increasingly clear that there is no boundary here, no outside, no escape. You’re pleasantly trapped in endless, swarm-like nesting, so you’d better get used to it. (Christian Höller)
The title “Lingua Automata” is a rough Latin translation of “language of the automata" or “the tongue of the machine”. “Automata” denotes machinic devices able to act of their own will, self-propelled yet still obeying a predetermined concatenation of courses. If “Machinima”, the portmanteau of “machine” and “cinema”, is used to describe a strand of virtual puppetry performed by humans, then “lingua automata” could be the vernacular through which only machine-to-machine, automaton-to-automaton communication is conducted in a closed loop. This film is composed of images made entirely within the Roblox game engine.
Lingua Automata
2026
Long Pham
World Premiere
Lectorium, Sevcable Port
17 September / 19:00
Official
Selection#2
This program is dedicated to the phenomenon of flicker — one of the most radical techniques of experimental cinema, which changes conventional ways of perceiving image and sound, transforming them into a liminal cinematic experience. The historical starting point here, of course, was Tony Conrad’s structural film The Flicker (1966), which opened up a new field of possibilities for the authors of experimental cinema, who subsequently used this technique with varying degrees of intensity.

However, it was important for me to intentionally expand the notion of flicker itself and to trace how this principle manifests across a variety of examples: in the pulsation of sound, ultra-rapid editing, phase repetition, color mixing, the duplication of text, and the layering of abstract imagery.

All of this makes it possible to address the potential fragmentation of film — its capacity to break apart into discrete impulses, ruptures, and intervals. Yet it is precisely through the rhythm and tension of these ruptures that filmmakers reassemble their works, transforming fragmentation into a unified sensory experience.
62min
Program:
1. Jung An Tagen, A Flock of Rotations (2025)
2. Tess Martin, How Now, House? (2025)
3. Alexey Smolin, Sourceless (2026)
4. Elizaveta Zharikova, Cycle Centrifuge (2026)
5. Sergey Murashov, Pixel generation(s) (2026)
6. Long Pham, Lingua Automata (2026)
Saint Petersburg, Russia
Lectorium Sevcable Port
TICKETS
Made on
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