Ultimo aggiornamento: 19/09/2021 – Last update: 09/19/2021.




The Japanese Avant-garde and Experimental Film Festival aims to draw connections between classic 20th century Japanese Avant-garde Cinema and contemporary Japanese experimental filmmaking. The past and the future, made present.”



Analogica è un evento che nasce per stimolare e sostenere la divulgazione e la conoscenza dell’utilizzo di tecnologie analogiche nella pratica artistica e creativa, in maniera particolare in progetti di ricerca sperimentale legati al cinema, alla fotografie e alla produzione sonora. Si svolge a Bolzano nel mese di Dicembre, e il suo programma di film (ANALOGICA SELECTION) viene proposto attraverso un tour itinerante internazionale da gennaio a ottobre. I programmi degli anni precedenti sono accessibili via streaming sul sito di Analogica.”



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First Hermetic International Film Festival – A truly unique film festival overtly dedicated to the domain of Hermetica: The Unorthodoxy underlying the mainstream intellectual history, the neglected Heterodoxy rooted in our cultural legacy, the eternal search for understanding the Inexplicable, the everlasting fascination for the Supramundane, the timeless allure of the Supernatural.

First Hermetic International Film Festival – un festival cinematografico realmente interamente ed apertamente dedicato al dominio delle dottrine ermetiche: La non ortodossia sottostante la storia intellettuale convenzionale, la negletta eterodossia radicata nella nostra eredità culturale e ravvisabile negli archetipi dell‘inconscio collettivo, l’eterna ricerca per la comprensione dell’inspiegabile, la fascinazione per il Sovramondano, l’allure seza tempo per il Sovrannaturale.”



Punto y Raya Festival fosters Audiovisual Arts in their purest state: Form, Colour, Motion and Sound. No representation! This renders it Universal. Its mission is to recapture the spirit of Cinéma Pure and Absolute Film formulated by the European avant-garde in the 1920s, consolidating this unique artform laying at the intersection between Fine Arts and Media.

The festival takes place every two years in major venues in contemporary creation and new technologies. The first editions were carried out in Spain (2007-2012) at venues like the Reina Sofía National Museum in Madrid and CCCB Center for Contemporary Culture in Barcelona. Since 2014 the festival is co-produced and hosted it in a different country each time; so far: Iceland (HARPA, Reykjavík), Germany (ZKM, Karlsruhe), Poland (CeTA & Four Dome Pavilion, Wroclaw) and Austria (Austrian Film Museum, Vienna).

With nine installments under its belt, the most comprehensive Online Catalogue and Resource Centre in the genre, the broadest creative community, and a promotion platform comprising over 60 cities, Punto y Raya has established itself as the world benchmark for Abstract Art in Motion.

The festival is run by the non-profit association MAD (Moviment d’Alliberament Digital) in Barcelona.”




The International Festival SIGNES DE NUIT based in Paris is made up of films, which reflects new views, original imagery and critical approach to the crucial points of the modern human existence. It is a place for cinema that expands its own boundaries, that is astonishing, different, potentially free from the pressure of tradition, ready to give itself to the unpredictable experimentation.

In 2013 the festival gets binational and is also performed in Berlin and Saarbrücken (Germany), up from 2015 it has been transformed in a multinational festival and is also performed in Bangkok and Lisbon.

The International Festival SIGNES DE NUIT based in Paris is made up of films, which reflects new views, original imagery and critical approach to the crucial points of the modern human existence. It is a place for cinema that expands its own boundaries, that is astonishing, different, potentially free from the pressure of tradition, ready to give itself to the unpredictable experimentation.

The special artistic forms of these films, which combine sound, image, movement, rhythm, text, space, surprising perspectives and different time structures carry not only an aesthetic purpose, but also broaden the possibilities of communication and understanding between people coming from very different mental, social and physiological backgrounds. To create this international sensitization facing the negative consequences mass communication and stereotypes seems to us a necessary responsibility of the modern cinema and audio-visual production.”



“For twenty-three years Traverse Vidéo, exists only with the intention of sharing with everyone a different, and experimental artistic forms, pursuing this project against all odds. For the one experienced who is not « entitled to it » often enough, with sophisticated programs, for the laymen who « believe they are not entitled to it » and for whom Traverse supports the sessions, prepares workshops and meetings in order to transmit ways of approaching and appropriating these forms. Traverse believes in a continuous exchange with the public.

Traverse lists, indeed, many meanings, that of going to the other side, that of passing to see differently, to apprehend something new, discover, question and, why not, have fun with it.  Traverse also means programming films, videos, installations, photographs and experimental performances.

Traverse and these artworks are called experimental because they differ in their questioning of the artistic codes, in their recognition of the medium and its potentialities; closer to sensory cinema than to exclusive narrative, they do not deprive themselves of purpose, nor of saying, of thinking. In this way, “Video” must be understood as « I am seeing / I am having visions » and not as a privilege given to a single medium, that of video, to the detriment of others.

To traverse is also to access, beyond the naked works, to other elements of meaning and signification produced by the very passage, the connection and circulation between different forms of experimental art.

Through screenings of this different cinema, performances during each action – and some of them in the street –, installations, or even photographs, Traverse explores the fundamental intermediation of today’s art.

Traverse causes the meeting between emerging and well-known artists without excluding the artworks of students, it does so in the meeting of those with the public, which it takes for five days through Toulouse or even beyond the walls.

Meeting with a workshop where artists discute on their approach beside their film, a round table discussion on Saturday… and the presence of the artists throughout.

Artists that Traverse finds beyond the borders with a program always from here – Toulouse, the region, France, Europe –, always from elsewhere–- Asia, Thailand, Hong Kong, Singapore, China, Japan, North America, United States, Canada, South America… – thanks to its faithful and its new artists.

img_Rencontres Traverse 2020

Traverse XXIII, March 2020

Off-screen – Off-camera: who’s watching?

No doubt, a proposal that implies less of constraints to the artworks than a questioning on their reception and the space that they open like so.

We are talking about artworks at the time of the dematerialisation even though the video image was of a passage, that of the electricity in odd and even lines, and that, formerly, to go against the merchandised-standardised object was one of the watchwords of experimental, and that the performance is at its moment… and what is there to say about the created digitally…

One says artworks/œuvres because there is opera, work, action but then that should simultaneously induce to recognise that there is artwork/œuvre because something takes place, there, in front of me who watches… most often, one is hasten to deny it by repeating over and over that one could says whenever s/he wants of the said artwork/œuvre because s/he feels it. There is artwork if it resists, thus we can only elaborate a reading that really takes it into account and that do not confuses it with the projective test of psychological analysis of “Rorschach’s inkblots”.

Two term, however, clearly distinguish the two domains of creation and reception: the “off screen” which in video – at least narrative – can, on each change of shot, axis… discover itself in the other side both inscribed and covered by what is open to the visible and the “off camera” of the absolute exteriority if this created field… it is the production, the composition, the reception of those who do, who receive.

Thereby, the protagonist nor the portrait is/are looking at us even if the artist provokes this effect of appeal, of relation even of complicity.

The performance would be our current stallion: when does it claim what is around the performative body approaches to the happening and moreover, how to perceive this possibility of transgression of the off camera with the field of vision.

However, the history of the arts shows such signs concerning the crossing. Like Las Meninas: whereas, by definition, the fixed visual image does not include an off camera, the painter’s addressed look implies the subject he paints on the large canvas at the inaccessible to us, while the painting granted to our eyes includes those who gravitate around it and would not be the subject of his set painting. His subject: the king and the queen in its off camera/off frame – that of the pose – reach to the field of vision of the painting through the mirror hanging on the wall of the back of this room-workshop and museum.

As well as the cinema that sets an off screen in the always potentially visible of the film, that a change of axis or a stitching in the editing lead in the visible, thereby remind us the first scenes of telephone where the interlocutor is off screen or in polyvision or of pursuer/pursued. Yet, some films fracture this illusion, when reflective, they import the question of the cinema as creation, composition, writing and not as a simple statement of the reality. Like Godard quoting Bergman’s Monika, from 1953, the shot he described as “the saddest in the history of cinema”, the one that includes the look of the young woman eponymous to the title, who abandoned baby and husband, and who, in a café, gives this not motivated look by the diegesis of her discussion with her young lover, as he is placed on the other side of the table at the bar where she just went to slide a coin in the jukebox, and a second shot just as addressed, the one where sitting on her bed, at her place, she turns her head as from off camera.

This effect implies… It involves the beyond of the field of vision as it does in the explicit of The 400 Blows, by Truffaut, which in 1959 provokes a similar upsetting call to the point of view: the young teenager having run to the sea that he never had sight, ran away from the borstal. The last shot in a zoom advances to his pointed look.

The awakening of the figurative illusion of IMR – Institutional mode of representation – is no longer so rare and because it joins our proposal, succumb to quote Godard one again, the founder and the emblematic look in Pierrot le fou – of Ferdinand who, while driving, turns back, commenting on the wishes of his companion Marianne: “See, she thinks only to laugh!” She: “Who are you talking to?” He: “To the spectators!” – breaks the comfortable space of the narrow fiction and provokes the reflective return on the film being made.

And certainly, Traverse’s 2019 program liked such questions: as Cindy Cordt waiting for the locks of hair of her audience who did not respond; as well as Tales Frey and Paulo Aureliano da Mata whose F2M2M2F X 6 involves embraced mirrors that include those who watch kisses take place; like so, in photography, Laurie Joly disrupting the limit by texts disturbed by the framing of her photographs, trace of the performative; as S’élever c’est d’abord être à terre by LAC Project one of which creators-makers dances in his field as well as his “patron” like the “donors” of altarpieces from the Renaissance or even Yoan Robin whose Promesses d’un récit includes from the beginning of its project that the other in off camera participates in the re-creation of its field of vision, and, without lingering longer, refer to flight of pleasure to the lyric score of AAA (Mein Herz) whose voice of an addressed face such as the look of Medusa…

The desired propositions can totally ignore the limit as a question or, on the contrary, take it as the center of their writing, they can “pretend” to interact with the off camera… and that they question what makes them artwork would be welcome.



Laterale is an international non competitive Festival of cinematic art organized by Associazione Culturale Laterale. Its aim is to enhance the most innovative aspects of audio-visual languages of the contemporary scene and to reduce the distance between artistic research and public involvement. Particular attention is given to young and independent filmmakers and to self-made no-budget works, as result of individual search.

The fourth edition of the LFF will take place in Cosenza (Italy) at Cinema San Nicola from September 13th to 15th 2021. The Festival promotes a free and stimulating project of sharing, that shows what usually is neglected or rejected because of the distance from the conventional way to do and to interpret the cinema. A space that breaks down barriers and prejudices, massification and standardisation, a space that wants to become an artistic laboratory where it is possible to discover now the cinema of the future.”



Courtisane is a platform for film and audiovisual arts, exploring the relationships between image and world, aesthetic and politics, experiment and engagement.

Operational since 2002, the Courtisane festival is an international festival based in Ghent devoted to the exploration of audiovisual and cinematic forms that defy industry conventions and formats.”



Alchemy Film and Moving Image Festival is the flagship annual event of Alchemy Film & Arts. Founded in 2010 as a three-day event featuring 33 films, it has grown to be one of the leading festivals of experimental film and artists’ moving image. Encompassing 10 installations, five expanded cinema performances, 11 shorts programmes, a filmmakers’ symposium and our much-loved final-day film walk, the 2019 edition screened 147 works across five intense days.

The 2021 event takes place 29 April – 3 May.




FRACTO is conceived as an encounter, embracing the cinematic medium as a
membrane for intersubjective exchange. We conceive of film as a framed eye which
merges multiple perspectives into an embodied and shared experience. The FRACTO
Festival is intended as a space in time for encounters: on the one hand, it is
conceptualized as an actual meeting point for international and Berlin filmmakers; on the
other hand, the festival is based on a broader conception of film practice, in which
different disciplines and approaches intersect and a plethora of different life perspectives
are conveyed.”



INDEPENDENT FILM SHOW is an international show dedicated to experimental 16mm film and for three days in June on the Belvedere of Museo Archivio Laboratorio per le Arti Contemporanee Hermann Nitsch in Naples its guests can participate at 16mm film and video screenings and at the expanded cinema performances.

Since 2001 coordinated by Raffaella Morra and organised by E-M ARTS associazione culturale, Independent Film Show is a radical projection of the most progressive film expressions in Italy, a cultural propeller for mentalities sensitive to complex perceptual phenomena without limits and rules to its senses. Here we talk with film-makers who are totally free to cross unexplored territories and the experimental film is a personal way to construct other connections not for mimesis or verisimilitude, an accentuated propensity to creative genius that instil unusual visual perceptions, imaginative visions to escape from the inertia of a conventional cinema, ordered by imposed reactions.”

INDEPENDENT FILM SHOW è una rassegna internazionale dedicata al film 16mm indipendente e per tre giorni in giugno sul belvedere del Museo Archivio Laboratorio per le Arti Contemporanee Hermann Nitsch di Napoli si partecipa alla proiezione di film e video e alle expanded cinema performances.

Dal 2001 coordinata da Raffaella Morra e organizzata da E-M ARTS associazione culturale, Independent Film Show è la radicale proiezione in Italia delle più progressive espressioni filmiche, un propulsore culturale per mentalità sensibili ai fenomeni percettivi complessi che non dà limiti e regole ai propri sensi. Qui si parla con i film-makers totalmente liberi di varcare dei territori inesplorati e l’experimental film è un modo personale di costruire altre connessioni non per mimesi e verosimiglianze, un’accentuata propensione alla genialità creativa che ispira delle inusuali percezioni visive, delle visioni immaginative per evadere dall’inerzia di un cinema convenzionale, ordinato da reazioni imposte.”

INDEPENDENT FILM SHOW 20 edition si è svolto dal 25 al 27 giugno 2020.


Below you can see the poster of the 2020 event.

INDEPENDENT 20 edition


“DEMO moving image festival is pleased to present its first online edition, taking place from the 15th of June to the 24th of July. As a response to the Covid-19 emergency, this edition of the festival will focus on the topic of Contagion. Taking the current emergency as a starting point, the notion of Contagion will be explored as an aesthetic and political paradigm, through the works by moving image artists and researchers. A series of screenings, newly commissioned special projects, Invernomuto will be live on the platform (also newly commissioned), and a reader will be presented on DEMO’s online platform.“.


Below you can see the poster of the 2020 event.


Un Festival che ricerca nuovi talenti e aperto all’esplorazione di nuovi linguaggi.

L’evento ha avuto luogo dal 5 al 16 maggio 2021.



La seconda edizione di uno dei Festival di Cinema più innovativi nel panorama italiano apre il 26 settembre a Genova, con la proiezione di tre piccole gemme, raramente viste in Italia, del regista georgiano-francese Otar Ioseliani (Sept Pièces pour le Cinema Noir et Blanc, Les Fleurs e Avril). Al grande maestro del cinema sarà dedicata una retrospettiva che comprende 11 film, che saranno presentati dal regista stesso. Ioseliani condurrà anche una Masterclass sul suo cinema a Palazzo Ducale il 28 settembre.

 “Abbiamo ricevuto opere di Paesi con grandi tradizioni di cinema come la Francia, l’Italia o gli Stati Uniti – ha detto il Fondatore e Direttore Artistico di FLIGHT, il regista di Kiev, ma genovese d’adozione Aleksandr Balagura – e da Paesi emergenti come il Bhutan, o il Libano. Moltissime opere caratterizzate da quell’onestà e purezza dello sguardo che vuole essere il marchio di FLIGHT”. 

Flight è organizzata dall’Associazione 28 Dicembre e da ACEC, con il patrocino dell’Università di Genova, con il contributo di Camera di Commercio di Genova, Fondazione Carige, Convention Bureau Genova, Comune di Genova, Regione Liguria, CNA Liguria, CAT Bonifiche Ambientali, Iren e Coop. Partner Tecnici sono il Dipartimento di Lingue dell’Università di Genova e Magestic Film. Elettra Car Sharing è il Sustainable Mobility Partner di FLIGHT”.


Per informazioni: 

Il prossimo evento si svolgerà tra il 26 settembre e il 2 ottobre 2021.

The next event will take place between the 26th of September and the 2nd of October 2021.


Kinoskop is an indie niche festival, based in Belgrade, dedicated to the exploratory tendencies and experimental ways of working with celluloid in a digital era, and a showcase of imaginative works of cinema which trigger strong audio-visual stimuli and puzzling afterthoughts, rooted in the spirit of underground, surrealist and experimental cinema. It is curated by veteran experimental film aficionados Nikola Gocic (film critic and visual artist) and Marko Milicevic (film author and founder of the audiovisual initiative Kino Pleme).



RIBALTA (The Limelight)

(Italian): “La “Ribalta” è la parte più esposta del palcoscenico teatrale, da cui le locuzioni “venire/salire alla ribalta” che significano assumere un posto importante, visibile sulla scena. Ma “Ribalta” è anche voce del verbo “ribaltare”: rovesciare, mettere sottosopra, vedere in prospettiva. Il Ribalta Experimental Film Festival ha questa ambizione: essere proscenio visibile ed importante per il cinema che capovolge le prospettive, disattende le nostre abitudini di spettatori bon ton, sconvolge gli umori del cinema istituzionale.

(English): Being in the limelight means to stand in the most exposed and visible part of the stage, and thus it can mean “to hold an important part of the scene” But in Italian “Ribalta” also refers to the verb Ribaltare: “To turn upside-down”, or “to put in perspective”. Ribalta Experimental Film Festival has the ambition to be a visible and relevant proscenium for the kind of cinema that changes our minds, defies our bon ton watching habits.


(Italian): Definire che cosa sia il cinema sperimentale è difficile. Un cinema che rompa i canoni narrativi e soprattutto visivi ai quali siamo abituati. Un cinema che lavori con lo stesso medium cinematografico sfruttandone le potenzialità anche le più estreme. Dice bene cosa intendiamo per cinema sperimentale una battuta di John Cage: l’azione sperimentale è quella di cui non sappiamo prevedere l’esito. Il cinema che cerchiamo è un cinema imprevedibile.

(English): Experimental cinema is hard to define. A cinema that breaks the narrative, and most of all visual, bounds to wich we’re used. A cinema that elaborates on film medium to its fullest, by including even the most extreme possibilities. John Cage said it well: an experimental action is one the outcome of which is not forseen; the cinema we’re looking for is a cinema of the unpredictable.


(Italian): Il Ribalta Experimental Film Festival sarà un concorso di cortometraggi sperimentali. Abbiamo scelto di concentrarci sui corti perché vogliamo dar voce al cinema giovane, non istituzionale, di ricerca. Quel cinema che, silenziosamente, prepara l’avvenire della settima arte sperimentando nuove forme di espressione.

(English): Ribalta Experimental Film Festival is a contest for short-length experimental films. We chose to focus on short films in order to give voice to young, non-institutional, explorational cinema. The kind of cinema that silently prepares the future of the “seventh art”, by experimenting upon new forms of expression.


(Italian): Il festival organizzato dal Circolo Ribalta di Vignola (MO) si terrà il 24-27 marzo 2022 al Cinema Bristol di Savignano sul Panaro (MO) e sarà un evento inedito: un nuovo festival di cinema sperimentale in Emilia-Romagna, il primo nella provincia di Modena. Il Circolo Ribalta è una piccola realtà gestita da appassionati volontari non a scopo di lucro che da 10 anni tenta di distinguersi con una proposta culturale alta ma laterale, importante ma marginale, nuova e d’avanguardia.

(English): The festival, organized by the Ribalta Club, will take place in Savignano sul Panaro (MO) on 24 and 27 March 2022 at the Bristol Cinema. Ribalta Experimental Film Festival is a newly-born event: a new festival of experimental cinema in Italy, the first in the area of Modena, in Vignola and Savignano sul Panaro. The Ribalta club is a small no-profit association run by passionate amateurs that for the last 10 years has been differentiating itself for a cultural offer both, important and marginal, new and avant-garde.



Underneath the Floorboards is a visual arts, experimental film night held in London’s buzzing artistic area of Hackney.

Our showcase is open to artists and filmmakers from all around the world whose work has an experimental, non-linear narrative form. We want to see variety, whether it be experimental film, video art, visual art, digital art, experimental documentary or animation.

For our next event hopefully everything will have gone back to ‘normal,’ and we can go back to having a live event. But we are prepared for another online event, like last time which got over ten thousand viewers. If everything is back to ‘normal’ we will also do a live event in Hackney, London.




“IMAGE PLAY ►International Video Art Festival, based in Funchal – Portugal was born as an idea in 2017 by the hand of its Founder, Director and Curator Hernando Urrutia, where its first edition was held in 2019, second edition in 2020, and third edition in 2021.

IMAGE PLAY ►International Video Art Festival, in his curatorship, presents a series of works based on the intersection of art and technology, where selected artists exhibit video art works and experience the space, time, form and sound, while presenting new forms of approaches in a diversity styles, processes and concepts, in their varied investigations and interest points of each artist, from the exploration of relations with the new experimental narratives and the connection with technology, in their particular approaches, from different cultures. 

IMAGE PLAY ►International Video Art Festival aims to promote a meeting between the languages of video art of different cultures, proposing a reflection and audio-visual thinking, exploring relationships with experimental tendency and / or connection with technology. It proposes the dissemination and assimilation of experiences, methods and knowledge, enhancing the thought / action and creativity / innovation relationships, in the experiences changing of contemporary society. 

The IMAGE PLAY ►International Video Art Festival, has in its programming the “COLLOQUIUM” seeks to work as a platform to contribute the reflection of contemporary thinking on the cultural and artistic production of the new audio-visual narratives, as well as the critical thinking it generates. The current art is configured from some points that means in different categories and elements, his own and others, that seek to define an identity. Art also opens to what is foreign, in a continuous process of cultural attachment and detachment. In these dynamics, cultural differences are reaffirmed.

Through its programming, IMAGE PLAY ►International Video Art Festival seeks to articulate an open discourse, build a bridge that binds the public in the new audio-visual narratives of emerging art, which is part of the process, experimentation and continuous transformation of video art as a creative tool.

IMAGE PLAY ► International Video Art Festival, III Edition transmission, will be AVAILABLE VIA ONLINE. 

IMAGE PLAY ► International Video Art Festival, III Edition is supported by the Department of Economy and Culture of the Municipal Chamber of Funchal, Regional Secretary for Tourism and Culture and Madeira Regional Directorate for Culture and diffusion by the organization + Art Contemporary. “

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