Lukács, Broersen: Crossing the...

In the film Crossing the Rainbow Bridge, Persijn Broersen and Margit Lukàcs are pushing artistic form and content to the limit. With a grand gesture, they open the floodgates of sentiment, but ingeniously prevent it all from turning into treacle. The film is shown on split screen, with the two parts sometimes complementing each other, sometimes being played off against each other. A simple story develops amidst this fragmentation, about two young people who are apparently involved in a love affair, and are thinking about each other. Their thoughts include the usual lovers’ dreams and tender reflections. Sometimes the camera takes over their musing, in a sort of 'visual thinking'. Action, patterns and images then melt together, and continue the story in a poetically associative manner. Sometimes the lovers find each other and sing a song together. And then she says: it seems as if everything is connected.

Sphinx Award

Anouk de Clercq: Building

Shafts of light and the camera are moving through the dark as in a glissando. Flat, sharply cut forms appear in black-and-white and high definition. They feel their way along expanses of wall, opening up storeys, windows and doors, and break down on floors, stairs and columns. In this way, according to a controlled choreography upheld by the music of Antoni Aeki, a truly architectural experience is created on the screen. Like a constructivist audiovisual mobile, the building reveals itself and is being documented as in an architect’s dream. In other words: as a spatial and atmospheric starting point for users to start leaving their marks on it.
'Building' is inspired by the new concert hall in Bruges and thereby also pays homage to the work of Robbrecht and Daem, the Belgian architects’ collective which is well known for such exploits as the new Boymans van Beuningen Museum building in Rotterdam and the AUE pavilions in Almere.

Alecks: Tai Ji Quan

My rear window in China.

Kristen Baumlier: Antenna

A woman builds a tin can telephone, goes to the top of a mountain, and becomes an 'antenna.'

Eric Deis: Apartment

Operating on the borders between fact and fiction, a residential apartment is transformed through a routine dousing of water from sources suggested, known and unknown. Through poetic visual rhythms, and soundscapes, the barriers between the natural and unnatural, and the transcribed and fact, are dissolved. The seamlessly looping video merges perceptions of reality and unreality by blending timelessness with a sense of regularity and normality. As if on a regular schedule, water begins to come out of nowhere. The sound of the impending spray of water builds as a thunderstorm and comes crashing against the wall, floor, and electrical fixtures like a cascade of ocean waves. The boiling of the kettle and the dousing of water come as a matter of course; they are automatic events of everyday living. Augmenting the artificiality of the constructed environment in which we live transforms the banal into a space of metaphor and imagination.

Kavdanska, Iordanova: Histories 2

Kavdanska, Iordanova: Histories 2

In Histories 2, the different personal stories cross at a given point only to withdraw again. The lift is a metaphor of the life rhythm – some people go up, some go down, you meet some people, some you never have the chance to see ever again, sometimes it is just the echo of their presence here.

Ane Lan: Europe

A woman, or one who appearing to be so, dressed in a traditional costume is holding up a mirror in which she sees the stars of EU flag. She starts to sing a song in which she declares her unwillingness to marry someone (read: join the EU), and hoping for a better future in solitude, singning the contract and seling out the white linen from her brides chest. But suddenly she finds that there is dirt/oil in the bottom of her chest, the stars of the EU are fading and reportage images of excessive consummation, environmental catastrophe and third world starvation follow.