In his latest film, Braden King ponders the Geneva Freeport, a warehouse complex in Switzerland that is said to house over 1 million works of art. A high-security tax haven for international dealers and collectors, the Freeport's exact contents remain a mystery to the general public. As people crossing borders are more to more and greater scrutiny, NATIONAL DISINTEGRATIONS examines what it means to have untold amounts of wealth and property flow freely through this extralegal space.

In L.A.’s Boyle Heights neighborhood, local activists and members of the art community clash over the fate of a beloved neighborhood.

In Kirsten Johnson's The Above, a U.S. military surveillance balloon floats on a tether high above Kabul, Afghanistan. Its capacities are both highly classified and deeply mysterious.

"Poor Magic effects a beautiful yet terrifying rendition of contemporary consciousness, gesturing towards civilisation's listless drift beyond the corporeal, and technology's infinite desire to penetrate and artificially replicate human essence. Computer-generated crowd simulations run berserk in dreamlike repetition, while a 3D endoscopic journey takes us through the body's most intimate passages."

An assertive polemic around first, second and third generations of the same image and the allied implications of that for texture, focus and resolution. Monitor explores a range of interactions between representation, raster grid, the front glass of the TV and its reflections. These relationships are permutated through focus pulls which shift the interaction between image and raster screen in unexpected and often dramatic ways. - Nicky Hamlyn

CGI collage short film originally premiered as part of the 'Extinction Renaissance' exhibition at the Loyal Gallery in Stockholm.

Rather than the charms of the lyre, contemporary technological tools, Google Street View and Google Earth, beckon as the pathway for our narrator to regain memories and recapture traces of his lost love. In the film, they are as captivating and enthralling as charming as any lyre in retrieving the other: at first they might seem an open retort to critics of new technology who bemoan the lack of the tangible presence of the other in our interactions on the Internet.

In 2005, Phil Solomon collaborated with his best friend, the highly respected filmmaker Mark LaPore, on a short digital video entitled Crossroad, which they made as a get-well offering for a mutual friend [David Gatten].

The lockdown in March broke off years of hard work by Verena Paravel and Lucien Castaing-Taylor, filmmakers, anthropologists and creators of Leviathan revealed at Locarno in 2012. Their new movie focuses on five hospitals in northern Paris neighborhoods, using the latest medical imaging technology to paint a triple portrait of the human body, the medical profession and the French capital.

Commissioned by the Toronto Animated Image Society

"Littoral Zones peaks around the corner of an entryway – looking out over the threshold and seeing a world of crystalline light anticipating our departure. But the room spins with our uncertainty to exit, and with each turn the light in the doorway becomes all the more enticing. The marvelousness of the light compels us to keep turning, but when the video settles on departure we find ourselves confronted with a multitude of paths, each more complex and inviting than the last." - Nicholas O'Brien

Ever reached into your pocket to find your phone had been snatched? Dutch film student and former iPhone owner Anthony van der Meer experienced that awful feeling first-hand while having lunch in Amsterdam. Unsatisfied with the response from the Amsterdam police, who register an average of 300 stolen phones per week, Meer decided to find out what kind of person steals a phone. He downloaded DIY security software on a decoy Android phone, intentionally got the phone stolen, and was able to spy on his thief for weeks. He recorded the ups and downs of his covert investigation and turned it into a 22-minute documentary called Find My Phone.

With a magical new invention that promised to revolutionize blood testing, Elizabeth Holmes became the world’s youngest self-made billionaire, heralded as the next Steve Jobs. Then, overnight, her 10-billion-dollar company dissolved. The rise and fall of Theranos is a window into the psychology of fraud.

Using few words and gorgeous imagery, this is a poetic painting of a family, each in their own space on an August afternoon.

An experimental portrait of the North American commercial fishing industry through the lens of GoPro cameras placed on a fishing vessel off the coast of New England.

Documents the lives of infamous fakers Elmyr de Hory and Clifford Irving. De Hory, who later committed suicide to avoid more prison time, made his name by selling forged works of art by painters like Picasso and Matisse. Irving was infamous for writing a fake autobiography of Howard Hughes. Welles moves between documentary and fiction as he examines the fundamental elements of fraud and the people who commit fraud at the expense of others.

This video begins with the familiar interface of the Macintosh OS X desktop, with only one folder shown, labeled "contra-internet." The user clicks over to iTunes, plays the song "Get Off the Internet" by Le Tigre, and then opens a series of PDFs of theoretical and political treatises, copying and pasting selected passages into a new text document and then using the find and replace feature to rewrite their meaning. Texts by J.K. Gibson-Graham, Fredric Jameson, Paul B. Preciado, and Subcomandante Marcos that originally opposed economic and sexual hegemony are repurposed as part of a manifesto against the internet itself, critiquing its logic and suggesting possible alternatives. This is the third work presented as part of Real Live Online, curated by Lucas G. Pinheiro and Devin Kenny. It follows IDPW's Internet Bedroom, and João Enxuto and Erica Love's Waiting for the Internet.

‘Kevin’s piece on his childhood experiences with the film Platoon are an example of the very power of cinema to shape our relationship with the world, and the world’s relationship with us … an experience of childhood trauma so visceral, that I haven’t just gained new insight on the war epic itself.’ (Cidnii Wilde Harris)