1970 short animated film by Lillian Schwartz

Blasting off into cosmic visual abstraction, pioneering computer artist Lillian Schwartz's recently restored UFOs (shown here in eye-popping ChromoDepth 3-D) is a kinetic tour-de-force whose innovative pixel pigmentation predated advances in stereoscopic technology by decades.

In June 2013, Laura Poitras and reporter Glenn Greenwald flew to Hong Kong for the first of many meetings with Edward Snowden. She brought her camera with her.

The ancient Chinese game of Go has long been considered a grand challenge for artificial intelligence. Yet in 2016, Google's DeepMind team announced that they would be taking on Lee Sedol, the world's most elite Go champion. AlphaGo chronicles the team as it prepares to test the limits of its rapidly-evolving AI technology. The film pits man against machine, and reveals as much about the workings of the human mind as it does the future of AI.

A young Tokyo businessman joins an online movie forum and develops a special bond with one of its members through back and forth e-mails.

As the president of a trashy TV channel, Max Renn is desperate for new programming to attract viewers. When he happens upon "Videodrome," a TV show dedicated to gratuitous torture and punishment, Max sees a potential hit and broadcasts the show on his channel. However, after his girlfriend auditions for the show and never returns, Max investigates the truth behind Videodrome and discovers that the graphic violence may not be as fake as he thought.

A successful mod photographer in London whose world is bounded by fashion, pop music, marijuana, and easy sex, feels his life is boring and despairing. But in the course of a single day he unknowingly captures a death on film.

对于许多人而言，虚拟现实如想象世界般遥不可及。在这部开创性的作品中，首次执导长片的乔·亨廷带着令人惊喜的温柔，检视着这一人类交往的新领域。他聚焦于疫情期间在虚拟现实中相识的多对情侣，以浪漫为主线，对于技术、边界与想象力展开了探索。作为在视觉体验上最独特、形式上最精彩的疫情纪实影像之一，《我们在虚拟现实中相遇》有力地见证着创造力所能缔造的人际联结的新途径。从肚皮舞、手语课程到激烈的台球比赛，一切都为这片陌生空间带来了意想不到的熟悉感。

The days of ransom notes written in letters cut out of magazines or bombastic manifestos sent to the newspapers are gone for good. Today’s media-savvy terrorists use filmed images for the purposes of manipulation, intimidation and propaganda. The Islamic State is almost unparalleled in the fervour with which it uses these means. As part of its war against unbelievers, this fundamentalist terror group disseminates tightly controlled videos with sophisticated editing. And the impact of these may well be even greater than the bloody violence unleashed by the group.
In video letters addressed to one another, filmmakers and researchers Chloé Galibert-Laîné and Kevin B. Lee analyse ISIS films found online. They show how the terrorists make effective use of stylistic devices drawn from Hollywood blockbusters, manipulate platforms for citizen journalism, set up dramatic arcs and use the camera as an implement of torture. Mainly, however, this fascinating desktop documentary is about watching. Not just passive reception that blunts the senses, but rather an activity with emotional, intellectual, aesthetic and ultimately ethical consequences.

In an attempt to analyse Chris Kennedy's 'Watching the Detectives', a researcher dives into a massive archive of media produced after the Boston attacks. Her online wanderings offer a performative exploration of the history of critical thinking and the ruthless politics of truth production.

In the sixth great mass mortality of the earth, humankind became extinct. Their technology had recently progressed so far as to deconstruct the algorithms of evolution and allow artificial life to develop on Earth.

A series of films about how humans have been colonized by the machines we have built. Although we don't realize it, the way we see everything in the world today is through the eyes of the computers.

Cao Fei recorded her experiences within the online social platform Second Life. The result is a wistful, surreal vision of an alternative reality sprung from the pop culture fantasies and hyper-consumerism of contemporary urban China, while also trying to transcend its real-life limitations. It can be seen as an answer to the challenge posed by River Elegy: how to envision a new Chinese destiny founded on principles of individuality, creativity, discovery, and freedom. The film also reflects the contemporary condition of the virtual supplanting our experience of the real.

A frank and unflinching look at the debauched and depraved aspects of modern life.

In a future world, young people are increasingly becoming addicted to an illegal (and potentially deadly) battle simulation game called Avalon. When Ash, a star player, hears of rumors that a more advanced level of the game exists somewhere, she gives up her loner ways and joins a gang of explorers. Even if she finds the gateway to the next level, will she ever be able to come back to reality?

A game designer on the run from assassins must play her latest virtual reality creation with a marketing trainee to determine if the game has been damaged.

"War always finds a way (Brecht). If there is a relationship between production and destruction, between the development of productive and destructive forces, then the atom bomb is the ultimate weapon of the post-industrial age. Greatest tonnage, highest mortality, maximum devastation. But what comes next, what are the weapons of the post-industrial age ? Post-industrial products are characterised by a declining proportion of material components, meaning that they depreciate more slowly. In order to prevent them clogging the market they have to be artificially aged, or as Marx put it, morally depreciated. The same is true for monopolists : only through constant innovation can products age and lose value ; competition is no longer needed. Until now it was competition that gave rise to enmity. Now, the competition is internal and an external enemy is no longer to be found. The enemy is amongst us and within us. Weapons are needed that can hit one person amongst a thousand. The economics demand wars with maximum precision targeting. Such as : wars fought on humanitarian grounds." (Harun Farocki)

An intense documentary about the tremendous tension between observation and interpretation. The pilots and gunners of attack helicopters who carry out nighttime missions in war zones make decisions with far-reaching consequences, not only for their targets, but for themselves as well; the fear of making a mistake is ever-present.
During their flights, the soldiers use thermal cameras to observe movement on the ground: anything that gives off heat lights up. From a distance, landscapes, villages, people, and animals become abstract patches of light and dark, lines, surfaces, and contours. Is the figure among them a Taliban fighter with a Kalashnikov or a shepherd with a stick?
Filmmaker Éléonore Weber had access to video recordings of French and American missions in Afghanistan, Iraq, and Syria. A French helicopter pilot related his often-shocking experiences to her. What begins as a monotone video essay gradually develops a powerful tension, because as viewers we find ourselves in the pilot’s seat. We catch fragments of conversations between crew members; we look, zoom in, interpret, hesitate—and then comes the explosion.

Immediately after the Boston Marathon bombing in April 2013, amateur detectives took the Internet chat rooms to try to find the culprits, looking for details in photographs uploaded to the sites that could point to the guilt of potential suspects.