Produced as part of an end-of-the-year series of videos looking back at films released in 2015, this video essay asks: when does the act of framing an image become a political gesture?

A video essay by Chloé Galibert-Laîné and Kevin B. Lee. Commissioned by Dana Linssen and Jan Pieter Ekker for Critics Choice V: Absence, 2019 International Film Festival Rotterdam. Special thanks to Bero Beyer. Dedicated to the film I DO NOT CARE IF WE GO DOWN IN HISTORY AS BARBARIANS by Radu Jude.

What do the numerous similarities between the films of Michael Haneke and Quentin Dupieux reveal about their respective filmmaking strategies?

Inventing a poetic path through images created with Louis Daguerre's centuries-old photographic device, 16mm film cameras, pixelated video games consoles, early smarphones and contemporary computer interfaces, the work asks: what aspects of reality have these different technologies been designed to document? What phenomenon, either too slow or too fast to be recorded, have escaped their capture? Are there still dimensions of our experience on Earth that have never been visually documented, and for which photographic techologies are yet to be invented ?

Um filme de Kevin B. Lee

Après avoir passé des années à parcourir le monde avec sa caméra, Chris Marker a embrassé le monde en ligne comme une nouvelle scène pour ses explorations cinématographiques. Des années plus tard, en huis clos, des milliers de joueurs ont commencé à jouer à GeoGuessr, un jeu en ligne qui invite ses joueurs à parcourir le monde à travers leur écran d'ordinateur. Cet essai vidéo expérimental et polyphonique explore le passé et le présent des pratiques d'exploration du monde médiatisé.

In this deeply personal video diary, a young researcher tries to make sense of her fascination for the film “The Pain of Others” by Penny Lane. A deep dive into the discomforting world of YouTube and online conspiracies, that challenges traditional notions of what documentary cinema is, or should be.

In an attempt to analyse Chris Kennedy's 'Watching the Detectives', a researcher dives into a massive archive of media produced after the Boston attacks. Her online wanderings offer a performative exploration of the history of critical thinking and the ruthless politics of truth production.