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Born from the internet, the phrase "TFW No GF" was originally used online to describe a lack of romantic companionship. Since then, it has evolved to symbolize a greater state of existence defined by isolation, rejection and alienation. The meme's protagonist, "WOJAK," has become the mascot to a vast online community consisting of self-described "hyper-anonymous twenty somethings" and "guys who slipped between the cracks." TFW No GF asks: How has the zeitgeist come to bear down on a generation alienated by the 'real world'? Meet the lost boys who came of age on the internet- places like 4chan and Twitter, where they find camaraderie in despair.
IDFA and Canadian filmmaker Peter Wintonick had a close relationship for decades. He was a hard worker and often far from home, visiting festivals around the world. In 2013, he died after a short illness. His daughter Mira was left behind with a whole lot of questions, and a box full of videotapes that Wintonick shot for his Utopia project. She resolved to investigate what sort of film he envisaged, and to complete it for him.
One of Paik’s most overtly political and poignant statements, Guadalcanal Requiem is a performance/documentary collage that confronts history, time, cultural memory and mythology on the site of one of World War II’s most devastating battles.
After Kai saves a woman's life, he turns into an overnight hero and viral sensation — until disturbing truths about his erratic behavior come to light. This shocking documentary chronicles a happy-go-lucky nomad's ascent to viral stardom and the resulting steep downward spiral.
A hybrid documentary feature film about the genesis of "memetic magick" and its application by the alt-right in the United States.
In this program video artist Gary Hill uses a number of his pieces to investigate otherness and ambiguity, dislocation of the senses, the boundary between words and comprehension, the physicality of text, and figurative interactivity.
From his photo-text canvases in the 1960s to his video works in the 1970s to his installations in the 1980s, John Baldessari’s (b.1931) varied work has been seminal in the field of conceptual art. Integrating semiology and mass media imagery, he employed such strategies as appropriation, deconstruction, decontextualization, sequentiality, and text/image juxtaposition. With an ironic wit, Baldessari's work considers the gathering, sorting, and reorganizing of information. “Something that is part of my personality is seeing the world slightly askew. It’s a perceptual stance. The real world is absurd sometimes, so I don’t make a conscious attempt, but because I come at it in a certain way, it seems really strange,” Baldessari says in this interview with Nancy Bowen. A historical interview originally recorded in 1979 and re-edited in 2003 with support from the Lyn Blumenthal Memorial Fund.
The quixotic journey of Nam June Paik, one of the most famous Asian artists of the 20th century, who revolutionized the use of technology as an artistic canvas and prophesied both the fascist tendencies and intercultural understanding that would arise from the interconnected metaverse of today's world.
Guy Ben-Ner, one of Israel's foremost video artists, gained international recognition with a series of low-tech films, starring his family in absurdist settings carved out of their intimate spaces and their everyday surroundings. Many of his videos are inspired by screenplays for films, folktales and novels. Analyzing these literary and cinematographic passages allows him to exploit the conventions of film narrative: how to tell a story, captivate an audience through a tale, sustain a degree of tension and entertainment, and so on. At the same time, he corrupts the magic of fiction by openly showing us the entrails of everything he records, without worrying about revealing the tricks of the trade. A large part of his filmic oeuvre features a conglomeration of cinematic and literary references which the artist quotes, adapts or interprets. Ben-Ner self-referentially links the great themes and their literary, cinematic and artistic realization.
In his book "1984", George Orwell saw the television of the future as a control instrument in the hands of Big Brother. Right at the start of the much-anticipated Orwellian year, Paik and Co. were keen to demonstrate satellite TV's ability to serve positive ends-- Namely, the intercontinental exchange of culture, combining both highbrow and entertainment elements. A live broadcast shared between WNET TV in New York and the Centre Pompidou in Paris, linked up with broadcasters in Germany and South Korea, reached a worldwide audience of over 10 or even 25 million (including the later repeat transmissions).
A documentary dissecting the life of times of Perell "Dreamybull XXX" Brown, a struggling saxophonist and entrepreneur who wound up creating homoerotic content to mass controversy, damage, and infamy.
When indie comic character Pepe the Frog becomes an unwitting icon of hate, his creator, artist Matt Furie, fights to bring Pepe back from the darkness and navigate America's cultural divide.
The innovative and influential British filmmaker Derek Jarman was invited to direct the Pet Shop Boys' 1989 tour. This film is a series of iconoclastic images he created for the background projections. Stunning, specially shot sequences (featuring actors, the Pet Shop Boys, and friends of Jarman) contrast with documentary montages of nature, all skillfully edited to music tracks.
Ghyslain Raza, better known as the “Star Wars Kid,” breaks his silence to reflect on our hunger for content and the right to be forgotten in the digital age.
In this horrifyingly modern fairytale lurks an online Boogeyman and two 12-year-old girls who would kill for him. The entrance to the internet quickly leads to its darkest basement. How responsible are our children for what they find there?
The Machine That Killed Bad People is about the cultural and political history of the Philippines leading up to the overthrow of President Ferdinand Marcos in 1986. It also addresses the role of electronic media in the struggle for power, and more broadly, American intervention in the Third World. Using a structure that emulates the way television news programs construct meaning through fragmentation, the tape interweaves clips of Filipino activists and reporters, a fictional television anchorwoman and correspondent, commentary by independent filmmaker Trinh T. Minh-ha, Fagin's off-camera voice and script, and anonymous excerpts from commercial television.
A memorial mourns as time passes
A film exploration of the work and aesthetic concepts of Yayoi Kusama, painter, sculptor, and environmentalist, conceived in terms of an intense emotional experience with metaphysical overtones, an extension of my ultimate interest in a total fusion of the arts in a spirit of mutual collaboration. —Jud Yalkut
Departing from the traditional factory lines of production on the plastic plant manufacturing industry. From there, the film expands into the realm of synthetic nature, portraying a highly engineered landscape,developed by startups. The images appear to be bound together by a dark slime—an oily, recurrent presence as a connection to the strange and gory logics of petro capitalism and global territories of extraction.Petroleum, in both refined and unrefined forms, serves as a temporal vector: it is the raw material for plastic plants, Revealing the absurd techno-solutionist vision of the future.
Poet and artist Vito Acconci points his finger towards the camera and his own reflection in an offscreen video monitor.
