Be there in time. We recommend that you arrive at least 20 minutes prior to the start of the screening.

Api (April, 1949) is a one-take recorded translation of a man’s proposal letter and firm vision of life through love. Penned after my paternal grandfather’s time in a forced labor camp during WWII, Api (April, 1949) is a reconstruction of his bid for agency during a time of oppression and destruction.

1995, she discovers the existence of the spheres. 2024, he searches for a trace of their passage. A mother and son face the tragic secrets passed on from one generation to the other. From a class photo to a satellite shot, the story of a revelation.

8.75mm film - a celluloid format unique to China and never circulated elsewhere, was a film format where no camera was made for. This print film stock was primarily used for mobile projection units to exhibit films in countryside, mountains, islands and ethnic minority regions in China from the 60s to 80s.

'What is a film without a camera?’, a question that emerged from the research, was explored by the artist through DIY printing and different photochemical processes. Images of film strips burn, blur, and tear within the chromatic space, the fleeting frames of archival films overlap with the super 8 camera footage shot by the artist. These interlayered images coalesce with optical sound and narratives from unnamed interlocutors, weaving together fragmented stories of an audience, a film factory and a camera inventor, where facts are immaterial, and memories are evanescent.

Within the abstractions, the images and sounds of resistance are folded into the tales of the cinematic invention. Reimagining a format that once resisted circulation, as a medium through which other forms of affect and dissenting hearsay continue to ripple.

Lectorium, Sevcable Port

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.

80 min

Program:

1. Emmanuel Piton, The Ghost Image (2026)
2. Anagata Zhulitova, Thunder Rumbles Once (2025)
3. Grau Del Grau, The Next World (2026)
4. Olga Losik, Do You Remember Me? (2026)
5. Harper Stone, Api (April, 1949) (2025)
6. Rieth Simon, Le Mouvement Tragique des Sphères (2026)
7. Peng Zuqiang, Afternoon Hearsay (2025)

Saint Petersburg, Russia