In 2002 Petter Baiestorf launched the fanzine "Manifesto Canibal" with notes on how to produce films independently without any resources. In 2004 the anarchist publisher Achiamé ordered an expansion of the fanzine to be published in book format and, thus, the book "Manifesto Canibal" by Petter Baiestorf, Cesar Souza and intervention by Carli Bortolanza appeared. In 2007, already out of print, Petter Baiestorf decided to film the book in the format of an experimental short and what follows here is the result of this iconoclastic experience that kills the gods of cinema.

Xiang Haikui grew up resilient and optimistic despite losing her mother and her father disappearing when she was nine. At eighteen, she dreams of her father, who tells her he’s in another world and has sent someone to bring her to him. After traveling through countless worlds, she meets the cold and mysterious Yin Changli, who promises to reunite her with her father but demands she sign an unfair contract first. As they set off on an adventure together, their lives become intertwined, leading to unexpected discoveries and challenges.

The filmmaker captures his environment with the camera, fearing he might be losing it more and more. Strict rules about using the entire clip length and its original audio track inform the editing process. The tableaus and their insistence in duration create a pull into an increasingly isolated state of perceiving the outside world in its unspectacular yet strangely unfamiliar intensity.

A collapse of multiple lifetimes into pieces of amnesia; us, experiencing itself in dreams of life and death. A direct expression of the slow vibration as it currently is; you, a brief movement in the vestiges of nothingness.

In order to commemorate the Republic of China's former President, almost every city in Taiwan has a road named after him. But people have different views on his legacy, making the existence of the "Chung-cheng" roads controversial in the island nation. Driving on the Chung-cheng roads all over Taiwan, we explored and listened to the thoughts of people living on these avenues. More importantly, we collected testimonies in the service of justice of Taiwan's transformational justice path.

After years of love, Romy & Laure face a major issue: boredom. Fortunately, every Saturday night, they go to the movies! That Saturday, a mysterious film will change the course of their lives and question their certainties . Is the key to happiness really on the other side of the screen?

Joe, a small-town abattoir worker, leads us on this allegorical journey. His dream to fly has impelled him to construct his own helicopter. Its a ramshackle assembly of scrap and found objects. The machine has no real practical capability aside from standing as a monument to his individuality. It becomes evident that an art buyer has offered money for the flamboyant creation, a mixed blessing that has caused a fracas. The community are unjustifiably demanding a stake in the potential spoils. Joe must fight them off, or lose all he has worked for.

Vertical image in front of a mortuary chapel.

In Taiwan, there was once a voice, connecting the north and south, hiding amongst the common people, bitterly hated by the ruling power that wished him bound and silenced. It became the song of democracy, the people's requiem, and the horn of freedom. For decades, WU Le-tian narrated the famous story of Taiwan’s very own virtuous thief – Taiwan’s Robin Hood – "LIAO Tian-ding". In the era of martial law, he used fantastic stories as a cover for arousing rebellion, and a guerrilla-style strategy to disrupt the state media. With an audience of millions, the common people was viewed WU as their very own Robin Hood! Surviving prison, escaping the jaws of death and disappearing without a trace for a decade, rumours have unceasingly circulated about the reappearance of the legendary virtuous thief.Today, in the raging storms of social unrest and rebellion, the legend has indeed quietly reappeared. The hero is alive! (docs.tfi.org.tw)

In January 2020, the COVID-19 broke out, and life on the earth began to stagnate. Human clocks began to be disordered. Human joys and sorrows were not connected, and even the perception of time was completely different... The two heroes in the story had been in love for many years. Girls were studying in Britain, while boys were in China. During the epidemic, the two of them maintained a habit of remote communication, but found that their perception of time was vastly different - a girl quarantined at home in the UK felt the stagnation of time; And the boy, due to being in the center of the epidemic, felt a sense of crisis due to the unclear virus. He felt time break through, surging forward at full speed. The two of them began reading "The Order of Time", hoping to find some comfort in Einstein's theory of time relativity

Little cartoon

A group of men obsessed with oil gather in a remote oil field region. Ichiro Kitazawa (Tatsuzaki) was one of them. He had a daughter-in-law named Harue Saijo (Takasugi), but he felt no affection for her. Ichiro, however, had spent the inheritance Harue had inherited from her father to find oil. Ichiro was now being bled by Butterfly (Hidaka), an eccentric female waitress at the Kinryu-tei. Harue took a train one day to visit Ichiro. She then befriended a man called Ken Matsuki (Dainikata), who had saved her from a crisis. Matsuki was a friend of Kitazawa, a man who was also passionate about the oil search.

This film is the 5th work of "grained time" series. What I want to express with this series is disassembling and restructuring the human sense. This time, I constructed a series of actions by extracting one frame from hundreds video material. The video materials are shooted in another time, another person of another place. I focus on what is different and what is the same in each frame of the film, and ask what the film is and the boundaries between montage and animation.

Three hundred years ago, Bai Qian stood on the Zhu Xian Terrace, turned around and jumped off without regret. Ye Hua stood by the bronze mirror to witness with his own eyes her death. Three hundred years later, in the East Sea Dragon Palace, the two meet unexpectedly. Another lifetime another world, after suffering betrayal Bai Qian no longer feels anything, yet she can't seem to comprehend Ye Hua's actions. Three lives three worlds, her and him, are they fated to love again?

In Puffed Up Piglets pride gets in the way of cooperation when the piglets are commissioned to find Daria's baby blanket. In Time for a Change Sebastian's use of his time machine is not nearly as effective as taking the time to help Plague understand why Sandy Squirrel must store so many acorns.

Abdurrahman Keskiner is one of the big guns of Turkish cinema. In Türkiye's national productions' history, his working method distinguishes him as a producer from the rest. Even though it may seem contradictory at first glance, he never gives up on investing in subtlety. Other producers have not pursued the same hope over and over and invested all of their earnings in shooting films ambitiously after making a loss. Yet, Abdurrahman Keskiner was an exception to this. He took great strides in promoting Türkiye's cinema to the world.