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Diego Quinderé de Carvalho’s 0.2 Milligrams of Gold and Andrés Jurado’s Yarokamena invite us to reconsider our relationship with nature, history, and the systems that shape our lives. In conversation, both filmmakers talk about their filmmaking process and the question of activism in art.

The camera measures distances. Its focal point coincides with an object in the room and through the emptiness around it, something becomes visible. It is an obvious observation, yet this essential aspect of photography is important in the work of Chloë Delanghe. Her work is situated on the crossroads between intimacy and distance.

Through association, repetition, and accumulation, Christoph Girardet and Matthias Müller showcase the inventory of Hollywood formal clichés that contributed to the creation of the Twin Towers’ symbolic capital, reflecting at the same time on the power of those images to haunt our collective imagination to this day.

Portrait d’une paresseuse seems one of Chantal Akerman’s more playful and lighter works—a skit in which she acts out a filmmaker’s creative process of attempting (and failing) to make a film about being lazy.

Lounging on a small bed, Chantal Akerman’s posture seems casual and relaxed at first glance, but the repetitive tilts of her head—to the left and then back to center—contrasting with the smooth glide of the camera suggest otherwise. Restlessness is in the air, yet before we can discern it, the image is already on the move, retracing its steps for a second time.

Greek filmmaker Jacqueline Lentzou does not look for inspiration; inspiration finds her. In her artistic practice, vague ideas slowly develop into something more comprehensible, more tactile. In The End of Suffering (A Proposal), she renders the mere act of “understanding” palpable.