20 Sept 2026 | Ordinary Errors: everything about yourself
Norika Sefa is a Kosovan writer, director, and editor. Her feature debut, LOOKING FOR VENERA (2021), premiered at the International Film Festival Rotterdam, where it received the Tiger Award, establishing Sefa as one of the most distinctive emerging voices in contemporary European cinema. Prior to her feature debut, Sefa directed the hybrid documentary DESDE ARRIBA (2020), filmed in the Peruvian Amazon under the guidance of Werner Herzog. Her latest short film, LIKE A SICK YELLOW (2024), continues her exploration of experimental forms, blending documentary and avant-garde practices through a bold visual and narrative approach. Alongside her artistic work, she is actively involved in film education, giving lectures, workshops, and has served as a jury member for numerous film festivals. She is a member of the European Film Academy (EFA).
I chose, across different countries, years, and cinematic traditions, films that treat cinema not as an explanation, but as a way of unsettling reality. “Poor images” make visible what we are used to seeing without questioning. (Norika Sefa, curator of the programme)
Programm:
AND WE ALL SHINE ON is an experimental collage that transforms found imagery, layered landscapes, and karaoke into an eerie meditation on media, belief, and apocalypse. A mysterious drift through the material blurs memory, myth, and deception, while exposing the emotional power and danger of mediated images and spiritual longing.
US 2006, Michael Robinson, 7’, no dialogue, DCP
2020 is a brief, concentrated portrait in which Friedl vom Gröller’s characteristic attention to faces, presence, and duration becomes almost tactile. In its minimal form, the film turns a fleeting encounter into a meditation on looking, memory, and the fragile trace of a moment.
POV MEMORY explores human memory through the unstable perspective of digital memory where recorded experience becomes fragmented, reconstructed, and estranged. Blurring the boundaries
between personal archive, perception, and virtual space, the film reflects on how contemporary technologies reshape the way memories are formed and recalled.
S/T is a luminous, meditative study of light, movement, and duration in which everyday reality is transformed into pure cinematic sensation. With this film, Caldini reduces cinema to its elemental qualities, inviting viewers to experience image and time as physical, almost transcendental phenomena.
I CHANGE I AM THE SAME is a playful one-minute experimental film in which a man and a woman repeatedly exchange clothes, blurring the visual markers of gender and identity. Through simple transformations, it questions how much identity depends on appearance rather than the person beneath. Despite constant change, the film suggests that something essential remains the same.
US 1969, Alice Anne Parker, Shelby Kennedy, 1’, no dialogue, DCP
I WOULD RATHER BE A STONE explores memory, landscape, and inherited histories through a poetic encounter with voices, images, and material traces. Moving between personal and collective forms of remembrance, the film reflects on the weight of the past and the ways bodies, places, and stories carry what cannot be fully articulated.
HR 2024, Ana Hušman, 24’, OV with English subtitles, DCP
EXTRA TERRESTRIAL is a hypnotic experimental journey that investigates perception, trance,
and the limits of the visible. Through a carefully constructed encounter between image, sound, and landscape, Russell creates a space where documentary observation slips into the hallucinatory, questioning what it means to experience and record another reality.
XK 2002, Sokol Beqiri, 3’, no dialogue, DCP, Lender: Kontakt Collection, Vienna
SUPERMAN is a concise and provocative gesture that uses the figure of the superhero as a symbol of power, vulnerability, and collective imagination. Through a simple yet unsettling visual intervention, Beqiri questions ideas of heroism, identity, and the desire for transcendence within a fractured reality.
F1GHTING LOOKS DIFFERENT 2 ME NOW is a vibrant experimental collage that moves through memory, resistance, and transformation using fragments of sound, image, and personal archive. The film challenges fixed narratives of identity and history, creating a space where struggle becomes a form of survival yet is always on edge, constantly shifting trying to become something else, refusing to settle into a single form or meaning.
| Sun 20 Sept 2026 | Luru Kino |
| 7 PM | Ordinary Errors: everything about yourself AND WE ALL SHINE ON US 2006, Michael Robinson, 7’, no dialogue, DCP 2020 AT 2021, Friedl vom Gröller, 2’, no dialogue, DCP POV MEMORY SG/AZ 2023, Igor Smola, 13’, OV with English subtitles, DCP S/T CA 2007, Claudio Caldini, 3’, silent, DCP I CHANGE I AM THE SAME US 1969, Alice Anne Parker, Shelby Kennedy, 1’, no dialogue, DCP I WOULD RATHER BE A STONE HR 2024, Ana Hušman, 24’, OV with English subtitles, DCP EXTRA TERRESTRIAL US 2004, Rhyne Piggott, Ben Russell, 11’, no dialogue, DCP SUPERMAN XK 2002, Sokol Beqiri, 3’, no dialogue, DCP, Lender: Kontakt Collection, Vienna F1GHTING LOOKS DIFFERENT 2 ME NOW Mesa Grande Reservation/US 2022, Fox Maxy, 11’, English OV, DCP € 7,5 (6,5 reduced) With an introduction by curator Norika Sefa |
