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A man seems to be falling or sleeping in the crowded city. People don't care about him. A “bug” accidentally enters his body and that wakes him up. As the endless noises in his head begin to make him lose his substance, he tries to escape his fears. The sound in his head turns into the siren announcing 5:00 p.m. (that's the time called “who is that guy?” because it's beginning to get dark and hard to recognize someone). His substance finally falls away. Is he a reality, or a vision?

I injured my right hand, and I live with my left hand for a while. I attend a Japanese language school with friends from Myanmar, and I go to meet a white dog. My left hand is awkward and imprecise as a foreign language. The left hand temporarily forgets the lives left behind by the right hand, offers food to the white dog, and slowly traces things that the right hand cannot reach.

In a cave situated between the ridges of the fingerprints of a human being, a primordial encounter with matter, light and sound unfolds. The Katabasis, the western mythological descent to the und erworld, is here stripped of its mythical connotations to reveal only its narrative function, the confr ontation with the past and with BOOKANIMA, a compound word of ‘Book’ and ‘Anima’, is an Experimental Animation project to give new cinematic life to books. It aims ‘Book Cinema’ in the third scope between Book and Cinema by Chronophotography Animation, paying homage to Edward Muybridge and Entienne Jules-Marey.

It experiments locomotion of Martial Arts along with its stream: Jeet Kune Do-Tai Chi-Tang Lang Quan-Shaolin Quan-Chinese Kick-Nunchaku-Karate-Judo-Gon-Sib Pal Gi-Taekyun-TaekwondoMuay Thai-Kickboxing-Boxing-Fencing-Jiu jitsu-Krav Maga-Kali-MMA.

Because the world keeps growing more dangerous, the cat is not allowed to go outside. Still, it is a story about a cat who longs to see the world beyond.

DESIRE is a non-chronological collage constructed from a corpus of materials drawn from the genre of melodrama. The work, grounded in the practice of decoupage, spans approximately three decades—from 1932 to 1958—and includes titles from the United States, Argentina, Great Britain, Finland, Italy, Japan, Mexico, and Spain.

Desire traces both a diachronic trajectory across time and a synchronic one within time, weaving a particular history of cinema along a temporal axis that is at once specific and archetypal. History itself, though continually shifting in its spatial and temporal configurations, appears to endlessly reproduce the same figures—interpreters who, beyond the specificity of their human and historical identities, seem fundamentally unchanged in gesture, modality, and essence. This recursive logic—an endless slipping and rising, ad infinitum—emerges in the film as a desperate attempt to escape a condition of human existence, here marked as specifically feminine, subjugated by the flow of time as a secularized and systematic machinery of power.

The film thus unfolds as an expression of impossibility ab ovo: the impossibility of a total liberation from the archive, understood as archè—sign, origin, and principle. Even when memory is reduced to ashes, the film’s figures wander along the threshold between presence and absence, suspended within the realm of desire.

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.

79 min

Program:

1. Giuseppe Boccassini, desire (2025)
2. Kenji Kadowaki, Cat and Drone (2025)
3. Shon Kim, BOOKANIMA: Martial Arts) (2026)
4. Yongha James Hwang, The opposite of Tadashii is left (2025)
5. Aya Kawazoe, Interface (2025)

Saint Petersburg, Russia