Panorama: Tech-Myth

In the realm of technology progression and the ability to edit and share footage on a daily basis, does the image lose the value it had or did it transform to a new material for editing and artistic intervention. Did the image now gain a new value that has no connection to reality? Did its role became to engage with myth, as a way to represent the vision of the one who captured and edited it? Are these myths meaningful? Do the engaged people realize that it doesn’t have any relation to reality? Or are we just in a vicious circle that goes deeper in imagination and hallucination?  

Crossover (The Scene)

Director: Ahmed Elshaer
Eqypt, 2017, 7', HDD, color
Arabic with Turkish & English subtitles

Two worlds, two spaces or cross borders - these titles bring us to the same concept about shifting between environments.

Deeply Absurd Lucidity

Director: Sammy Sayed
Eqypt 2017, 7', HDD, color
Arabic with Turkish & English subtitle

A man trapped in a limbo of absurd and randomly projected visions that seem to be driven by an obscure shapeshifter who has hacked into his mental and emotional intelligence.

The Caller AKA -EL Nadaha

Director: Muhammad Taymour
Eqypt, 2017, 8', HDD, color
No Dialogue

The “Nadaha” is a woman used to appear at night in the Egyptian countryside to sing with a very sweet voice and call the men in that country, they get seduced by her voice and go to their unknown destination. 

The video is a symbolic surreal simulation for the inner voices inside all of us (represented by the Nadaha voice during the video) and this woman is calling for 4 types of characters but they don’t obey her and they are struggling to go with the voice.

Flowmaster

Director: Nevien Emam
Eqypt, 2017, 4', HDD, color
No Dialogue 

Motion is the opposite of silence which is the difference between any motion and other and it is one scene when it is silence. Recording a certain moment missing what’s before it, neglecting what is after it. If the scene moved it will show another timing away from its recorded moment; to become thanks to the motion a new composition of a silent scene.

It seems that I need a choreographer 

Director: Eman Zahran
Eqypt, 2017, 5', HDD, color
Arabic with Turkish & English subtitle

Seems like I am in a need for a professional dancer 
Seems like I am in a need for a dancer 
Seems like I am in a need for 
Seems like I am in 
Seems like I am 
Seems

The Current Cube 

Director: Hend Moaaz
Eqypt, 2017, 6’', HDD, color
English with Turkish & Arabic subtitle

“A fake Investigation about non-understandable wall writings; which based on objective and subjective hypotheses.” 

The Image of Man

Director: Soheir Sharara
Eqypt, 2017, 4', HDD, color
English with Turkish & Arabic subtitle 

“Seeing comes before words [...] The relation between what we see and what we know is never settled.” John Berger, Ways of Seeing.

The Aesthetics of Being

Director: Samuel Nashaat
Eqypt, 2017, 6', HDD, color
Arabic with Turkish & English subtitle 

Existing of something/someone means that it has been produced through a very well designed process that combined three aesthetics. First one is called (flow) or to unconsciously be. The second is (Rhythm), or to ensure the product’s longevity, please abide by its preset daily routine. Third is (Contrast) following a set of methods, terms and orders as well as competitively fighting for the standards.

Panel: Rethinking the Archive

Panel: Rethinking the Archive

Panorama: Colombian Highlights

Panorama: Colombian Highlights

Panorama: Emerging Artists

Panorama: Emerging Artists

Panorama: Hambre

Panorama: Hambre

Panorama: Nomadica

Panorama: Nomadica

Panorama: Portraits - KLEX

Panorama: Portraits - KLEX

Panorama: Tech-Myth

Panorama: Tech-Myth

Retrospective of Vivian Ostrovsky: Program 1

Retrospective of Vivian Ostrovsky: Program 1

Retrospective of Vivian Ostrovsky: Program 2

Retrospective of Vivian Ostrovsky: Program 2

Retrospective of Vivian Ostrovsky: Program 3

Retrospective of Vivian Ostrovsky: Program 3

Competition: Analog Works

Competition: Analog Works

Competition: Animation - I

Competition: Animation - I

Competition: Animation - II

Competition: Animation - II

Competition: Between Motion and Stillness

Competition: Between Motion and Stillness

Competition: Essay-I

Competition: Essay-I

Competition: Essay-3

Competition: Essay-3

Competition: Essay - 4

Competition: Essay - 4

Competition: Ethnogeographic

Competition: Ethnogeographic

Competition: First Experiments

Competition: First Experiments

Competition: Found Footage – I

Competition: Found Footage – I

Competition: Fresh Air-I

Competition: Fresh Air-I

Competition: Fresh Air-II

Competition: Fresh Air-II

Competition: Memory Boom

Competition: Memory Boom

Competition: Personal Cinema

Competition: Personal Cinema

Competition: A Machine to Live In

Competition: A Machine to Live In

Special Screening: When Forever Dies

Special Screening: When Forever Dies

Competition: Eyes/Eyes<br>Eyes/Eyes

Competition: Eyes/Eyes
Eyes/Eyes

Competition: Ailleurs Partout

Competition: Ailleurs Partout

Competition: The Personal Life of a Hole

Competition: The Personal Life of a Hole

Competition: This is China of a Particular Sort, I Do Not Know

Competition: This is China of a Particular Sort, I Do Not Know

Retrospective of Vivian Ostrovsky: Top Ten Designers

Retrospective of Vivian Ostrovsky: Top Ten Designers

Competition: Autumnal Sleeps

Competition: Autumnal Sleeps

Competition: Inside The Outset - Evoking A Space of Passage

Competition: Inside The Outset - Evoking A Space of Passage

I Copy Therefore I Am

I Copy Therefore I Am

Suggesting alternative models for new social and economic systems, SUPERFLEX works appear before us as energy systems, beverages, sculptures, copies, hypnosis sessions, infrastructure, paintings, plant nurseries, contracts, or specifically designed public spaces.

The Other Side of New Year's Eve: <br> Pera Film's Alternative New Year's Watchlist

The Other Side of New Year's Eve:
Pera Film's Alternative New Year's Watchlist

As the New Year approaches, Pera Film presents an alternative watchlist of 10 movies, ranging from Hollywood's timeless classics to memorable examples of modern cinema.

The Ottoman Way of Serving Coffee

The Ottoman Way of Serving Coffee

Coffee was served with much splendor at the harems of the Ottoman palace and mansions. First, sweets (usually jam) was served on silverware, followed by coffee serving. The coffee jug would be placed in a sitil (brazier), which had three chains on its sides for carrying, had cinders in the middle, and was made of tombac, silver or brass. The sitil had a satin or silk cover embroidered with silver thread, tinsel, sequin or even pearls and diamonds.