Uso Justo by Coleman Miller

“Coleman Miller is destined for admiration and great poverty.”
– Isabella Rossellini

“It put a bouquet of flowers on the concept of the experimental film.”
– Ed Ruscha

Continue reading “Uso Justo by Coleman Miller”


Directors Lounge at Mitte Media Festival, 5 – 6 May, 2017

The lights are on and the gloves are off for this sensory assault of choicest knock-out punches from around the world of DL. Stories are told, implied or avoided in a rush of shorts spread over two venues and three programs. Everything you need to reactivate undernourished cinema-hungry brain cells will be served up – plenty of DL premiere gems in the bunch, plus other bright lights from a slew of bright minds.

We are pleased to participate in the Mitte Media Festival, a two-day, multi-venue celebration of video, film, publication and performance works through a spectrum of media starting on May 5th and ending on May 6th.

We will be presenting two screenings at Z-Bar, Bergstraße 2, Berlin at 6 pm and 8 pm, presented by André Werner and Kenton Turk: A buffet of tasty tidbits from 10 years of Directors Lounge, films about self -esteem, aliens, art, moms, toasters and the whole universe. An Urban Research program curated by Klaus W. Eisenlohr will take place at the Fata Morgana Gallery.

We will hit you, in the best way possible!


DL at Mitte Media | Program One (80 min) curated by André Werner, 5 May, 6 pm at Z-Bar: all about reception, pictophagia and the autopoietic beauty of images.

Stefan Adamski (PL) Induction 3 min 2007
Neil Needleman (US) Meeskeit 7 min 30s 2009
Jes Benstock
(GB) Phosphenes 10 min 2002
Michael Betancourt (US) The Kodak Moment 2 min 2013
Xavi Sala (ES) La Parabólica 12 min 2007
Sasha Waters Freyer (US) An Incomplete History of Pornography, 1979, 8 min 2013
Jean-Gabriel Périot (FR) 21.04.02 9 min, DV, 2002
Faith Holland (US) RIP Geocities  2 min 31s  2011
André Werner (DE) The Custom of Eating Pictures 9 min 1997
Santiago Parres EZO (ES) Sinecdoquanon 7 min 29s  2011
Tokomburu / Zisis Kokkinidis and Ion Papaspyrou (GR) I Am Not Here Now 9 min 30 s 2013



DL at Mitte Media | Program Two (96 min) curated by André Werner, 5 May, 8 pm at Z-Bar: A wild rollercoaster about the eternal question “Have you ever seen an experimental film?”

Alexei Dmitriev (RU) Dubus 4 min 9s, DV, 2005
Coleman Miller (US) Uso Justo 22 min 2005
Matthew Lancit (FR/CA) 16 Reasons Why I Hate Myself 03:32
Alexandru Ponoran (RO) Isac Inca Doarme 17 min 2012
Samuel Blain (GB) In Dreams 3 min 57s   2011
Bryan Konefsky (US) Miss Yummy Yummy 4 min 2012
Guy Maddin (CA) Sombra Dolorosa 7 min 35s
Nina Lassila (FI) Günter und Mutti  3 min 17s 2011 (Distributor: AV-arkki)
Chema Garcia Ibarra
(ES) The Attack of The Robots From Nebula-5
6min 20s 2008
Javier Chillon (ES) Decapoda Shock  9 min 15s  2011
Luca Zuberbuehler (CH) Lothar 13 min  2013
Oliver Smith (GB) Bob by Oliver Smith 2 min 31s 2013


DL at Mitte Media | Program Three, curated by K.W. Eisenlohr (91 min), 6 May, 4 pm at Fata Morgana Gallery: Exploring the boundaries where video art and cinema merge. 

James Harrar (UK) Vlaamperd 2014, 5:54min
Clemens Fürtler (AT) Bildmaschine 07, Transit 2015  3:30min (silent)
Elaine Tedesco (BR) Leme Posto 2011 2:59 min
James Edmonds (DE) Movement and Stillness 2015 10:52min (silent)
Eric Stewart (US) Rah Rah 2013, 3:58 min
Petra Lottje (CN/DE) Questions to the Moon, 2017 4:46min
Doris Schmid (DE) LEG- 2012 5:00min
Katya Craftsova (IN/DE) Time Conservation 2012, 6:19 min
John D´Arcy & Deborah Uhde (DE/UK) Back ande Vor 2014 5:32 min
Bernd Lützeler & Kolja Kunt (DE) Unterwegs mit Maxim Gorkiy 2014 10:14 min
Sandra Becker 01 (BR/DE) 4 Clips for Loops 2015 01:17min
Mélissa Faivre (DE) The Space in Between 2016  11:48min
Gabriele Stellbaum (DE) Honest Lies 2011 9:45min
Mark Street (US) After Synchromy 2015 5:11min
Felix Brassier.Thanos Chrysakis (FR/UK) Day Two Hundred Seventy Nine Trails 2014 4:22min

The Mitte Media Festival program

Mitte Media Festival partners include: FATA MORGANA, Leo Kuelbs Collection, coGalleries, Last Night in Berlin, Chased Magazine, Directors Lounge, Z-Bar, BRLO and more.


pictured: “Uso Justo” by Coleman Miller; “Decapoda Shock” by Javier Chillon,  “16 Reasons Why I Hate Myself”  by Matthew Lancit , “Questions to the Moon” by  Petra Lottje

Directors Lounge at the Filmmuseum Duesseldorf, April 20th, 7pm – 2am

We have been kindly invited by the Filmmuseum Duesseldorf to present selected shorts during Duesseldorf´s Night Of The Museums, a special art event when 40 museums and galleries open their doors for one night.
During this night, all of Duesseldorf’s cultural establishments present an exciting program from music, workshops, lectures to art, as well as a wide scale of culinary surprises.

We screen three programs, next to an animation-special, curated and presented by Kim Collmer and a luminosacoustic live performance by Croatian artists Lightune.G (Bojan Gagic and Miodrag Gladovic)

Show me shorts! #1

around 7:30pm

Joerg Brinkmann DE Entschleunigter Moses 02:05 2011
Claudia Guilino DE Stony Sleep 06:24 2011
Pasha Е RU Robots 04:39 2009 music: Dolphin
Roger Deutsch US Prelude 07:15 2011
Charles Fairbanks US/MX Irma 12:15 2010
Emilio Rizzo IT The Story of Dreams 02:38 2009
Richard Pierre CA Squeaky Shoe 01:50 2012
Reuben Sutherland GB Happy Up Here 02:58 2009
Andre Chi Sing Yuen DE Sword-Sharpness of Expression 02:26 2012
Bruce Knox DE Alienated 02:32 2011
Antoine Hilaire FR Cross the Fader 03:26 2008 music: Jamaica
Heiko Daxl and Ingeborg Fuelepp DE Tomaten 03:00 2004
Masha Godovannaya RU Untitled #1 04:00 2005
music: Gianluca Porcu aka LU

Show me shorts! #2

around 10:30pm

Nina Lassila FI Günter und Mutti 03:17 2011
Simon Ellis GB What About The Bodies 07:20 2002
Lucia Nimcova SK Exercise 05:54 2007
Neil Ira Needleman US A Charming And Quaint Tale Of Brutal Revenge 07:50 2012
stock`n`wolf / Tinka Stock & Sèbastien Wolf DE Bob Log`s III Electric Fence 02:25 2005
Franz Wanner DE pitrs 01:11 2000
D. Kimm & Brigitte Henry CA Mademoiselle Clara, Rabbit-Tamer 06:26 2010
Andre Werner DE Die Augen Der Menschheit 14:00 2007
Kote Camacho ES La Gran Carrera 06:55 2011
Chema Garcia Ibarra ES The Attack Of The Robots From Nebula-5 06:20 2008
Javier Chillon ES Decapoda Shock 09:15 2011
Guilherme Marcodes BR Tyger 04:30 2006
Juan Pablo Zaramella AR Luminaris 06:00 2011

Show me shorts! #3  

around midnight

Coleman MillerUS Uso Justo 22:00 2005
Sandra Araújo PT Tape Loading Error 02:55 2012
Oded Arad IL Bartholomew 09:08 2012
Karl F. Stewart DE/US Animaux Découpages 04:33 2012
Mario DeGiglio-Bellemare CA Main Attraction 30:00 2011
Make the Girl Dance FR Baby Baby Baby 04:21 2009 music: Make the Girl Dance
John Christopher Gibson US Gillespie 08:08 2010
Joe McClean and Sarju Patel US How To Make David Lynch Movie 09:50 2011
Keith Schofield US Toe Jam 03:27 2008 music: The BPA


Black Box, Filmmuseum Duesseldorf, Schulstraße 4, 40213 Duesseldorf

pictured: still from Coleman Miller’s “Uso Justo”

Have you ever seen an experimental film?  |  DL at Timishort, Romania

Directors Lounge presents a program handpicked by Alexei Dmitriev at
Timishort in Timisoara, Romania, May 7th, 5pm
We are showing great films from around the world that already became
classics, but were never screened at Timishort due to the festival’s very
young age. We tried to fill it with works that are very diverse in topics
and techniques so this compilation could be a decent representation of
experimental cinema, especially for the ones who never encountered it.


Mihai Grecu / France / 2007 / HD / 07’58’’
An abstract dialogue between men and black dogs. In this cold and hostile
atmosphere, their gestures and reactions cause subtle tensions to arise.
Aggression and perplexity mutate the bodies and distort their environment.

Uso Justo
Coleman Miller / USA / 2005 / DV / 22’30’’
A 1950’s Mexican melodrama is turned inside out when an experimental
filmmaker arrives in the fictional town of Uso Justo .
Existential and hilarious, intelligent and ridiculous….Uso Justo is a
subtitled experience in black and white and color where all your wishes
can come true. Trust me.

Thorsten Fleisch / Germany / 2007 / HD / 05’08’’
 From a mere technical point of view the ordinary tv/video screen comes
alive by a controlled beam of electrons in the cathode ray tube. For
‘Energie!’ an uncontrolled high voltage discharge of approx. 30.000 volts
exposes photographic paper which is then arranged in time to create new
visual systems of electron organization.

La Descente
Robert Croma / UK / 2010 / HD / 08’20’’
Descent (noun)
    •    an act of moving downwards, dropping, or falling
    •    a downward slope
    •    a moral, social, or psychological decline
                    ~ Oxford English Dictionary

Planet Z
Momoko Seto / France / 2011 / 35mm / 09’30’’
Somewhere… the PLANET Z.
Plants rule on this planet, and all seems harmonious and delicate.
But liquid and sticky mushrooms show up little by little, and destroy the
idyllic life.

Back + Forth
Clint Enns / Canada / 2009 / Super 8mm / 03’20’’
Shot entirely in one take.  This film documents the happenings on one of
the strangest streets in Winnipeg.

Dies Irae
Jean-Gabriel Périot / France / 2005 / DV / 09’45’’
, remember
That I am the cause of your journey
Don’t lose me on that way.

Alexei Dmitriev / Russia / 2005 / DV / 04’09’’
A slow dance of the classical cinema to the music of Zelany Rashoho.

Directors Lounge hits LA

We are screening assorted highlights at the prestigious Los Angeles Art Association (LAAA) as part of  NOT A CAR, a special all-media, cross-cultural exhibition featuring the highlights from our partners, the C.A.R. art fair in Essen, Germany, alongside original contemporary artworks by Los Angeles artists debuting at Gallery 825 on April 9, 2011. Exhibit runs through April 29, 2011.

program I

Alexei Dmitriev Dubus 4 min
Coleman Miller US Uso Justo 22 min 2005 
Thorsten Fleisch DE Dromosphäre 10 min 2010
Nicolas Ramel FR A/V Sketch#3 40s 2010
Octavian Fedorovici RO Casablanca 1PM 1min 2008
Julia Smith  US  Grand Teton 4 min 1s 2010
Gunter Deller DE Riverrun and Touchdown     7 min 40s 2009
Ryley O´Byrne CA Maenad  2 min 45s 2010
Ron Diorio US Winter Wind  3 min 1s 2009
Maria Niro  US  Glitch Telemetry  ca 3 min  2010
Kika Nicolela FR/BR  Passenger 5min 2007
Bruce Knox DE Danger Global Warming 7min 3s 201
Sergio Cruz UK    Hannah    5 min30s 2010
Ofir Feldman Poetic Account 1 min
Chema Garcia Ibarra ES The Attack Of The Robots From Nebula-5 6min 20s 2008
KRONCK (aka Maximilian Gerlach & Jessica Benzing) Thank You Third World
Max Hattler DE Spin 4 min 2010
Julia Murakami/Alan Smithee  lost masterpieces #1 ((red) 2010

program II

Chiara Ambrosio The Crossing    3min 31s
Chiara Ambrosio Whale 4 min 52s
Eric Dyer US Copenhagen Cycles 6 min 37s
Mark Maxwell Naturaleza Muerta   29 min 2011
Chiara Ambrosio    Charon 12 min 16s Musical score Michael Nyman
Jean-Gabriel Périot 200-000 phantoms 10 min

in cooperation with Myriam Blundell Projects


program III

A Journey Through The Symbols – selected video works by André Werner
The weary traveler must clear his own path through the thicket, must find the passages in this labyrinth of symbols. Here the glimpse of a distant female beauty, there a delightful garden; a gold-glittering speck of color draws the traveler and he finds himself entranced… The viewing of a shape, somehow familiar, sets the mind running at full force, tracing distant memories. Expectations crystalize into clear formulations; the eye strives to match the moving pieces into a distinct wholeness. But the process of pasting together the individual tiles, of trying to derive one whole unified object from this melting pot of images, fails. The arrayed bits of meaning waver and… dissolve.
All that remains are the pictures and colors, the shapes and our traveler’s imaginations – The journey carries on in the mind of the beholder. Anja Osswald

A Journey Through The Symbols combines videos from the last twenty years, many of them will be screened in US premiere


Letʼs start with an easy one. How did you conceive “Uso Justo”?
I always had it in my mind that I want to do a film where the characters were aware that they were in a film of some kind.

And then I was making jokes with my friends — Iʼve told them I wanted to make a foreign film. But nobody makes a foreign film. They just make a film from whatever country they are from. And then when it gets shown somewhere else then itʼs a foreign film. So the concept of a foreign film was sort of intriguing to me… Anyway I wanted to find a film that did not have subtitles and was in another language. So I was in a mall south of Minneapolis, Minnesota and there was a video store. They had a little foreign section with VHS tapes there. The first one I grabbed I gave it to the counter guy and said: “Could you pop this in?”. So he put it in and I watched 5 minutes and there wasnʼt subtitles and it looked like it was decent quality and I said: “Iʼll take it”. ʻCause it did not matter to we what it was as long as they were speaking another language. So I took it home and watched it a few times and kept some notes. I wasnʼt exactly sure where it was going to go or how it all will come together. I did not really had a plan, I just started writing scenes. And not even writing — putting subtitles in there which seemed easier to me then writing.
The other important thing — it was not a comedy. I did not want to make comedy if the actors were playing it for laughs. Luckily, as I got in, the film was very melodramatic with very serious scenes which really makes the comedy work so much better.

What was the first scene written?

The first scene I wrote was an operating room scene. The doctor in the operating room just looks at his nurse and says: “The filmʼs just started and this guy is already dead. We already got a corpse”. And that was the opening line. It did not make the final cut.


It almost looks like these people could be saying these things just by their expressions. Because Iʼd realize this guy is making this face, but heʼs saying this and I can either play it for laughs or if I am telling a story it helps if it almost looks like the guy could be saying it. And then it sort of wrote itself once I started getting in there. Thereʼs one scene I donʼt really like in the film, but the rest of them Iʼm all happy with.

Which one?

Thereʼs the scene near the end when the nurse and Larry are in the room and sheʼs telling Larry that Make-A-Hope Norma is the key to the whole film: “When she goes… we all go”.
ʻCause I wanted to make Make-A-Hope Norma the embodiment of the film — when she dies the film is over. I also wanted it not to freak people out… ʻCause everybody goes: “Oh, somebody dies, a little girl dies. Death, oh, itʼs terrible”. Itʼs fucking perfectly natural, thereʼs nothing to be so weirded out about. The girl dies, itʼs a young girl and she dies. We all die so thereʼs nothing to be scared of. A little girl dies and itʼs still a happy ending ʻcause we all had a good time and she got to see her butterflies in the end. So itʼs not all found footage – I shot some butterflies and put that in there.

Weʼve heard that Bruce Conner was a fan of the film?

Yeah, Bruce Conner… itʼs a great story. Because he was my hero, he was the reason I got into making found footage. He was getting some stuff transferred in San Francisco at a film lab that I used to work at. So Iʼd shown this to some people at the lab and one of them was John Carlson who was the guy who was transferring all of Bruce Connerʼs films for him. He just said: “You mind if I show this to Bruce Conner?”. I was like: “Fuck no, please, show it to him”.
I had no idea what would happen, but I thought itʼd be cool if Bruce Conner was watching my film. So a week later I get a call and itʼs from Bruce Conner. I pick up the phone and he says heʼs Bruce Conner and Iʼm like: “Who is this?”. We ended up talking for quite a while. He loved “Uso Justo”, he thought it was great. He was constantly showing it to people that would come by his place. I know that his health was not so good either so there were a lot of people coming by his house where he was taking it very easy. So he showed it to a lot of people and I would get e-mails from other people thatʼd been by his place. And Bruce actually sent me a check at one point and gave me a list of a bunch of his friends that was like an A-list of artists, actors and writers. So I mailed out about 40 of these DVDs to all of his friends and heard back from some of them.

On your website  thereʼs a quote by Isabella Rossellini: “Coleman Miller is destined for admiration and great poverty”. Is it real?

Yeah, thatʼs real. A friend of mine was dating Isabella for a while. They were in Chicago, so a few of us went out for dinner. I was just finishing up “Uso Justo” so I gave them a copy that was 90% done. I guess they were back at the hotel and Isabella told the concierge that they needed a DVD player up in the room, they watched it. And then she left 2 messages on my phone when I got home to Minnesota. One of them had that line.

The best compliment an artist might have.

I think so. And she was comparing me to her father in that message. She said: “I grew up with a bunch of people who were doing something new and if you do so you are destined for admiration and great poverty”. And then she started laughing. I took it as compliment, definitely.


It looks that there are a lot of inside jokes in the film. Like thereʼs a line: “Baldwin, get those trousers back on!”. Is it Craig Baldwin ?

There are so many inside jokes in there. I figure as long as somebody say their name you might as well use your friends. Phil thatʼs my buddy Phil Johnson, Make-A-Hope Norma is Norma Perez this girl that I went to school with and I would cheat of her in Spanish tests. Thereʼs a bunch of… Nelson and Pookie. All this stuff itʼs all my friends in there. And itʼs definitely Craig Baldwin.

Wonderful hommage.

“Baldwin, get those trousers back on!” — I tried to get the word “trousers” back into the language. Everybody says “pants” now and Iʼve been trying to get the word “trousers” back into the vernacular. My friends always give me shit ʻcause Iʼm always using the word “trousers”.

“Uso Justo” feels like a perfect film for film festivals. Was it your intention?

Yeah, itʼs definitely for film festivals and people that go to film festivals. Itʼs kind of made for that really. When I first submitted it to festivals they tell you to check a box: fiction, documentary, experimental. And I check experimental ʻcause I always checked experimental. And itʼs not really… itʼs more of a fiction than it is experimental. Sure they are always talking about it, being in an experimental film, or they are talking about experimental films, but itʼs kind of a straight up comedy. My friend Beth give me some shit, ʻcause she said: “This was just your excuse to tell jokes”. And it is, but I just couched it in this story of filmmaking and experimental film in particular.

There are tons of great lines in there. “Thatʼs a lot of stairs”, for example. Do you know any people that use them in real life?

My friends use that if they come down from a bunch of stairs they always say: “Thatʼs a lot of stairs”. Or “sometimes wishes are on their own schedule” thatʼs a good one.

Our favourite is: “You just get busy dying”.

Exactly. You know I got into a big argument with my sister and her husband on that scene when I was writing it ʻcause I would show them some stuff and they saw the scene where the nurse says to the little girl: “You just get busy dying”. And they were just: “Oh, my god you canʼt use that”. We got into a huge argument. I remember we were barbecuing and discussing it for quite a bit but I was: “You know, Iʼm gonna keep it cause itʼs funny”. Itʼs dark humor and it comes out of nowhere, but it always gets a laugh. Yeah, there are some good lines in there. You know I would still watch that thing sometimes and laugh at my own jokes. And during screenings I am cracking up. So sick…


Wait, we have another favourite line: “I cut them into little ovals myself”.

Iʼll tell you a little story about that. Once I wrote that I wanted to make that cop be totally into arts and crafts. Like he would always be mentioning something he was working on like a mosaic, but really cheesy. I was trying to think of the cheesiest art things like macaroni art. I did not have enough scenes with that cop but I wanted him to be the one always working on his little crafty projects.

How was the film received by Spanish speaking people?

Thatʼs a good question. Because when I made it I wasnʼt even going to submit it to festivals in Spanish speaking countries ʻcause itʼd just be retarded. Theyʼd know what they are saying, but theyʼll try to be reading stuff — itʼd would be too difficult. But then some Spanish speaking people saw it at a couple of screenings I was at and they came up to me and they loved it. And then I explained to them that I wasnʼt going to send it to Mexico or Spanish speaking countries and they were like: “Oh, no you should send it because we have a very self-deprecating sense of humor”. And then not long after that a couple from Mexico, from Juarez saw it up in Canada. And they were like: “Oh, man we gotta invite this guy to our festival”. So I was a guest filmmaker at their first Juarez Film Festival. So they dig it. Which was total a surprise to me. It turned out that I made a film that I donʼt know about. Thereʼs another film in there for people who speak Spanish. Thatʼs a totally different experience that I will ever get from the film that Iʼve made.


Weʼve read on your blog  that you make stencils. How did you get into it?

The stencils started about a year and a half ago. I never was a huge stencil guy, but then I saw this thing online and there was a very artsy-craftsy lady who was saying: “Iʼll teach you how to make a stencil. Just grab a photo of yourself, put it into Photoshop, Iʼll show you what to do, do a self-portrait”. I thought: “OK, Iʼll give that a shot”. Grabbed the photo, did all the stuff. It only took me 10 minutes to cut the thing and when I sprayed it I was amazed. It was quite good. So I thought: “Well if I spend some time on these stencils I can make them even better”. So Iʼve been doing those ever since. Everything from Herman Munster to Nicola Tesla.

Youʼve mentioned that you wanted to do films like Monty Python. Do you have any favourite skit by them?

Oh, shit. Well, there is the reenactment of Pearl Harbor by some women just in the field . Somebody blows a whistle and then they just beating the shit out of each other. And there was… I donʼt remember the name, but there was a soccer game… It was philosophers against Germany .
Those guys are just totally absurd. Even in “Uso Justo” thereʼs a little reference. Thereʼs a scene where the other doctor just says “Well, weʼll just end this scene right now”.

Letʼs digress a little bit to ask you the main Director Lounge question… Do you like cats?
I would put them second to dogs. I was not a cat fan. I grew up in a dog household. And when I moved out to the West Coast everybody had a cat. I mean, I fought it tooth and nail. But now I like cats.

OK, good. Any new projects?
Well I am always writing down ideas… I was making all these short films that Iʼd show to 30-50 people here and there and play at festivals once in a while. And this thing shot me up the ladder of experimental filmmakers for a little bit and it sort of freaked me out. I wasnʼt sure what to do next… So I haven’t really written anything big yet. Iʼve been making a bunch of tiny little short ones just for my own… I make a lot of films and a lot of them I donʼt really screen. I just make them for myself basically. I make films that I want to see. I just make them and if I think they are good enough then I send them off to festivals. But now when this thing has won so many awards and played so well, Iʼm afraid to send out anything to festivals that isnʼt as good as or beyond.


Iʼve been getting into the kinetic sculpture more and stencils and doing other stuff. But I think in some way kinetic sculpture and the film is gonna be incorporated somehow whether itʼs a film about kinetic sculpture or I put cameras on sculptures which Iʼve already started. But I need to make another comedy too. For a long time I was just doing these visual films, very abstract visual film and this was the first time with “Uso Justo” where I was telling a story. I think I was OK at doing those, so I should probably get back to doing that instead of just doing abstract stuff.


Opening reception, Thursday, 10th of February 8pm – open end

You are cordially invited to the The 7th Berlin International Directors Lounge 2011, 10.-20. Februar
Meinblau, Pfefferberg, Berlin Mitte

the full program here

All screenings free admission  | No accreditation required  | Space is limited, the early bird catches a seat.

art house meinblau, Pfefferberg. (map)
Schoenhauser Allee 176 / Christinenstr. 18, 10119 Berlin
U Senefelder Platz | Tram M8 | Bus 240 | U Rosa-Luxemburg Platz |

Daily from 6pm till dawn. Opening reception Thurs. 10th, 8pm

still from Coleman Miller US Uso Justo 22 min 2005 

Thurs 17th 10:30pm


Fabrice Maruca FR Granny Time

Steve Stark CA Bear-Horse! 3 min 46s 2009
Stefan Adamski PL Auction 12 min 46s 2010
Nicolas Ramel FR AV scetch #4 58s 2010
Anssi Kasitonni FI Masa 10 min 45s
Coleman Miller US The Bonny Orbit 3 min 2010
Tilman Kuentzel DE  Pixelpo 1 min 28s 2010
Julia Smith  US  Rear View Camera 3 min 7s 2010
Kahori Kamiya JP Follow Me 2 min 1s 2010
Coleman Miller US Uso Justo 22 min 2005
Kahori Kamiya JP Bathroom Conductor 3 min 3s 2009
André Werner DE A.Y.B.A.B.T.U.  6 min 2001
Nicolas Ramel FR AV sketch #3 40s 2010
Chema Garcia Ibarra  ES The Attack Of The Robots From Nebula-5 6 min 20s 2008
Fabrice Maruca FR Granny Time 2 min 20s 2009

total running time: 88 min