In 1997, for it's fiftieth anniversary, the Cannes Film Festival asked Leos Carax for a short film, a kind of postcard addressed to the festival, in which the director would give news of himself and of his film project "Pola X."

Optically printed, hand processed and painted, this film records the space of light. It attempts to remove the Form of abstraction from Matter and thus places the viewerin a virtual temporal-space. The last minute of film is comprised of clear leader. After this, the projector remains running with no film passing through its gate for30 - 60 seconds. This flickering white light completes the film’s projection.

Untitled is an investigation into an anecdote the artist heard about a house near Algiers: that it was abandoned by its wealthy owners during the political unrest in the 1990s and occupied by a terrorist group. The idyllic landscape we are shown is in fact a series of full-scale inkjet prints, which the artist photographed and used to wallpaper a life-size model of the house for his film set. Actors playing the landlord of the house, the gardener and the neighbors give conflicting accounts of what the terrorists had done there, how they lived, how they ate. More importantly, they question why the group chose to live in a house with floor-to-ceiling glass windows on all sides. This re-imagined scene is typical of Beloufa’s exploration of the hazy shades of narrative, make-believe and truth that underpin the representations of real-world events.

Five minutes of romance before tragedy.

Experimental short made by Olivier Assayas for Fondation of Contemporary Art and starring Maggie Cheung.

Two different seasons, two different places, united in one picture.A bunch of craws are watching an icescater.

Images of sounds. Resynchronisation attempt during film print.

The film reflects a transformation which results in its destruction.

Work by Anne-Marie Schneider, made 1999-2000

Archive film of the Lascaux cave