» A Little Light. Laura Dunn, USA, Experimental, 2026, 5’48’’

“You will work many days no one will ever see…” Two simple elements comprise this short film: An audio recording of writer and farmer Wendell Berry reading excerpts from his book-length poem The Farm while sitting with his wife Tanya in their living room on a hot August afternoon in 2012 cut to a long take of the winter sun setting on a barn in their home place of Henry County, Kentucky. One of Tanya’s favorite poems, The Farm follows the cyclical seasons of life and reflects upon being rooted in the love of one place.

» Anamolies Dans Le Paysage (Anomalies in a Landscape). Félix Caraballo, Canada, Experimental, 2025, 7’38’’

ANOMALIES IN A LANDSCAPE is a film in four tableaux – four audivisual landscapes that unfold in all their strangeness. Spices, leaves and local seaweed reveal and imbue with their hues this film shot and developed on the very banks of the Magtogoek/St. Lawrence river.

» Ara. Rita Bolieiro, Portugal, Experimental, 2025, 9’53’’

On this island, where stones are both prophets and altars, nature and its traces are divine. Worship is carried out through gestures and offerings: everything that comes from the island returns to it.

» An Atmospheric Condition nº1. Javier Clemente Martinez, Spain, Experimental, 2026, 3’39’’

In the Anthropocene, catastrophe does not always arrive as spectacle. Sometimes it settles into the atmosphere. Filmed in Trevinca, a protected Natura 2000 area in Galicia during the devastating wildfires of summer 2025, An Atmospheric Condition observes fire not as an isolated event, but as a persistent state embedded in the landscape. Through a fixed image conceived as a continuous loop, smoke, altered light and obscured land replace narrative progression: there is no clear beginning, climax or resolution. Rooted in the recurring fires of northwest Spain yet extending towards a planetary condition, the work reflects on ecological collapse, territorial transformation and the political, economic and human forces entangled within them. As the landscape burns, recovers incompletely and burns again, catastrophe ceases to interrupt normality and becomes its atmosphere—no longer something we simply witness, but something we increasingly learn to inhabit.

» Feathers [Set] Adrift. Isabel Pastor e Benjamin Rossmann, Germany/Spain, Videoart, 2025, 5’16”

Once revered as steadfast messengers, pigeons once bridged vast distances, carrying meaning across space. Here they appear mid-flight, their trajectories caught in the rhythms of competition (colombicultura, a competitive pigeon-breeding tradition originated in southeastern Spain) — their dyed plumage a signal of recognition, vigilance, and an uneasy form of human affection. This work inhabits the boundary between species and senses, wildness and domestication, organic and symbolic, tracing how care and control blur in the human desire to mark, follow, and name life itself. What at first glance seems like a natural or digital spectacle reveals itself as a human inscription in the bird body, in a tradition where ornament signifies care and colour a claim. The birds seem to hover at the edge of significance, their agencies entangled with human power and custom, signalling a moment of aesthetic dissent — or perhaps simply another unchosen mode of being seen. Inspired by Uexküll’s metaphor of life as a musical composition, which conceives every living animal environment or Umwelten as overlapping, the work reflects on situated modes of world-relation not as seamless harmony but as melodies (entirely drawn and reworked from field recordings of pigeons and their fanciers) that intersect, interfere, and unevenly recompose one another, creating a portrait of birds and humans diffracting through relations of intimacy and control, emissaries of both tradition and fracture. Attending to these uneven entanglements, the piece foregrounds patchy multispecies existences and hints at the possibility of emergent more-than-human worlds yet to come.

» Halocline. Pablo Koury e Malgorzata Sus, Sweden, Documentary/Experimental, 2026, 9’42’’

At the Baltic’s halocline, where salt and fresh waters tense against merging, three coastal dwellers embody the memory of the sea and reflect on vulnerability, adaptation, and resilience.

» I move, Therefore I am. Michalina Szymankiewicz, Portugal, Experimental, 2026, 14’03’’

The earth gives birth to a human being. With the first breath, life begins – an intimate dance of discovery upon the soil that shaped him. Born from nature, he never truly leaves it. Through curiosity, movement, and touch, he learns to know himself and the world – the stones, the forests, the open deserts. Each gesture becomes a dialogue: between body and earth, breath and wind, light and shadow. The body searches, learns, and loves – finding tenderness and belonging in the rhythm of the natural world. Yet, as every cycle must turn, energy fades. The same earth that welcomed the first step now becomes a place of rest. Through exhaustion, surrender, and stillness, the journey closes where it began – in darkness, in the quiet acceptance of the ground. This film is a visual and physical meditation on existence – a reminder that we have never been apart from nature, but one with it all along.

» Mata Virgem. Aline Tanaã Tavares, Brazil, Experimental, 2025, 2’20’’

“Mata Virgem” is an ecofeminist manifesto that questions the relationships between nature, the body, and power. Through a dense and provocative visual poetics, this piece of work dismantles the idea of “virginity”, where neither the forest nor the woman remains untouched. Both are colonised bodies, exploited according to the extractivist logic of capitalist advancement. “Mata Virgem” offers no answers, but calls for attentive listening: How do we relate to life? What kind of world are we bringing into being — or burying?

» Quinte West. Dan Sokolowski, Canada, Animation/Documentary/Experimental, 2025, 2’53’’

A symphony of avians accompany the mood of the landscape.

» The Hidden Cost of Brigtness. Konstantin Bondarev, Arménia, Animation/Experimental, 2026, 4’

This project illustrates the problem of fast consumption in clothing, electronics, and other everyday products. In the pursuit of short-lived pleasure, people buy new things that quickly lose their appeal and end up in landfills. In this cycle, little thought is given to the impact on the planet or the value of restraint. This behavior has already led to massive garbage dumps and even floating islands of waste in the oceans, and the process shows no sign of slowing down. Humanity must begin to address this problem far more seriously if we do not want our planet to turn into a toxic landfill for future generations.