Méliès d’Argent – Shorts
Fantasy has been dancing on the screens since the cinema was born. Wearing horrific and astonishing masks, it shows us who we used to be, who we are and who we will be. The past, the present and the future fuse together to create one image on the screen and deceivingly make us think that time will never stop. Monsters and creatures come out of the shadows or the depth of the waters. Someone is looking for a way out, someone is looking for something else, what they want to flee and what they want to find is out of our knowledge.
Arene
di Henrik Bjerregaard Clausen
Denmark, 2016, 4’44”
Blight
di Kate Walshe, Christopher Goodman
Great Britain, 2015, 6’6″
Bruce Gallagan
di Pau Perramon
Spain, 2016, 14’
Getting Fat in a Healthy Way
di Kevork Aslanyan
Bulgaria, 2015, 22′
Hilde
di Felix Knoche
Germany, Austria, 2016, 20′
I need my space
di Jesse Pohjonen
Finland, 2016, 10’26”
Inner Land
di Vivian Papageorgiou
Greece, 2015, 18′
Into the mud
di Pablo Pastor
Spain, 2015, 10’15”
Iron Mountain
di Romain Brachet, Sébastien Fraud, Alexandre Guerre, Damien Kessler, Maxime Marline
France, 2015, 5’11”
Mars IV
di Guillaume Rieu
France, 2016, 15′
Mechanical
di Alba Capilla
Spain, 2016, 4’45”
The Plan
di Pierre Teulières
France, 2016, 12’59”
Queen Kong
di Monica Stambrini
Italy, 2016, 19′
Redux
di Vitaly Verlov
Russia/USA, 2015, 9′
Story of R32
di Vladimir Vlasenko
Ukraine, 2016, 2’28”
Till death do us part
di Alexander Schulz
Germany, 2016, 15′
Trial
di Keith Lynch, David T. Lynch
Great Britain, 2015, 15’56”
White Collar
di Natalia Lampropoulou
Greece, 2016, 7’51”
Spazio Corto
This year we find ourselves in a winding path through horror and science-fiction genres, so different yet so close to each other. The former relates to the past, to the wild, to the instinct, the latter desperately stretches out to the future, focuses on anthropocentrism, and relies on reason. The representation of the future is barely ever beaming or aseptic. Humanity itself becomes a virulent, self-eating unrestrained organism. True horror isn’t hiding underground, but behind smooth and polished surfaces.
Asphyxia
di Alessandra Angeli
Italia, 2016, 20′
Can you decide
di Lu Pulici
Italy, 2016, 4’55”
Djinn Tonic
di Domenico Guidetti
Italy, 2016, 14’20”
Hitchhike
di Filippo Cinotti
Italy, 2016, 3’37”
Hypogeum
di Alessandro Moscatt, Alessandro Della Villa
Italy, 2015, 24′
Italy 2050
di Pablo Apiolazza
Italy, 2016, 1’57”
Nuova era
di Manuele Trullu
Italy, 2015, 25′
Selezione artificiale
di Fabio Fossati
Italy, 2016, 13′
US
di Cristiano Gazzarrini
Italy, 2016, 19’45”
Who is the superhero?
di Antonino Valvo
Italy, 2016, 2’30”
Out of Competition
Eccentricity is nothing but a matter of balance. What is “outside” does not necessarily coincide with a value judgement. Geography and politics set boundaries referring somehow to the borders of the screen itself. However, thanks to the images we can be here and there at the same time. We travel through time and space. Everywhere. Anywhere.
The Babysitter
di Frédéric Chalté
Canada, 2016, 17’50”
Deux escargots s’en vont
di Jean-Pierre Jeunet, Romain Segaud
France, 2016, 3’14”
The Disappearance of Willie Bingham
di Matthew Richards
Australia, 2015, 12’44”
Dawn of the Deaf
di Rob Savage
Great Britain, 2016, 12′
Eigengrau
di Tomer Yaacoby
Israel, 2015, 11′
The Garden
di Natalia Iyudin
USA, 2015, 13’36”
Golden Shot
di GÖkalp GÖnen
Turkey, 2015, 8′
Homunculus
di Exequiel Sambucetti
Argentina, 2015, 15′
Lunatique
di Gabriel Kalim Mucci
Brasil, 2016, 15′
Never Tear Us Apart
di Sid Zanforlin
Canada, 2015, 7′
No compassion no mercy
di Juanan J. Arasa
Canada, 2016, 16′
Quenottes
di Pascal Thiebaux, Gil Pinheiro
France/Luxemburg, 2016, 13′
Reset
di Jeremy Lutter
Canada, 2015, 15’30”
Saint Frankenstein
di Scooter McCrae
USA, 2015, 15′
Sector D
di Eldar Shibanov
Kazachistan, 2015, 19’29”
The Tunnel
di André Øvredal
Norway, 2016, 15′
When Susurrus Stirs
di Anthony Cousins
USA, 2015, 11′
