Sookoon Ang
John Arndt
Elisabetta Benassi
Wolfgang Berkowski
Johanna Billing
Brian Block
Opie Boero-Imwinkelried
Daniel Bozhkov
Lasse Brandt
aka Bosse Sudenburg

Sarra Brill
Thomas M. Callori
Rob Carter
Anetta Mona Chisa
Suzy Cho
William Cobbing
Tyler Coburn
Patricia Cronin
Keren Cytter
Jen DeNike
Robert Ladislas Derr
Stanislao Di Giugno
Ra di Martino
Honoré d'O
Steven Eastwood
Chris Ernst
Billy Erhard
Mariana Ferratto
Oriana Fox
Rainer Ganahl
Jean-Baptiste Ganne
Mario Garcia Torres
Emil Goh
Dara Greenwald
Vincent Grenier
Jesper Just
Rob Johannesma
John Kelly
Jeroen Kooijmans
William Lamson
Penny Lane

Sandra Eula Lee
Jochen Lempert
Jason Livingston
Jennifer Locke
Giuliano Lombardo
Marie Losier
Mary Magsamen
& Stephen Hillerbrand

Giulia Mainenti
Kristine Marx
Tara Mateik
Ursula Mayer
Jacopo Miliani
Franklin Miller
Vincenzo Mistretta
Liana Miuccio
Joshua Mosley
Willett Moss
Shana Moulton
Lydia Moyer
Jeremy Newman
New Humans
Olaf Nicolai
Dan Oki
Joao Onofre
Jimmy Owenns
Arzu Ozkal Telhan
Jose Parral
Sarah Paul
Julie Perini
Rosalind Peters
Alessandro Piangiamore
Cesare Pietroiusti
Frederic Post
Gunter Puller
Marco Raparelli
Alia Raza
Asad Raza
Jack Riccobono
G. Alan Rhodes
Manuel Saiz
Alessandro Sarra
Corrado Sassi
Mathew Sawyer
Jennifer Schmidt
Guendalina Salini
Cigdem Slankard
Claudia Sohrens
Mirjam Somers
Nomi Talisman
Jennet Thomas
Jennie Thwing
Lucia Tkacova
Nathan Townes-Anderson
Thomas Tsang
Ken Ueno
Guido van der Werve
Marcella Vanzo
Nico Vascellari
Luca Vitone
Clemens von Wedemeyer
Patrick Ward
Julita Wojcik
Emiliano Zelada
Sarah Zwerling

I Make Things Happen, 2001
video, B&W, sound, 6:00 min.
In the belief that through sheer force of will she can change what goes on around her, a young woman wanders South London. Her efforts range from the tedious to the hilarious and the uncomfortable. Gradually, her will leads her to try and change the very film she is in...


The End, 2002
video, color, sound, 9:00 min.
A young French woman treads Soho asking passers-by directions to, "The End". She is met with a range of responses, from the good-natured and helpful to the bemused and philosophical. Nobody suspects however that she asking directions to the end of the film.

Chris Crossing
video, color, sound, 4:00
Tom and Chris find themselves down a back alley and stop by the side of the broken white line down the centre of the street. Chris begins to explain to Tom the crossing-the-line rule in cinematography. He isn't very good at explaining it however, and as he and Tom speak their respective over-the-shoulder and point-of-view shots get tangled up, until both the line and Tom get cross. Chris never gets cross.

Come As You Are, 2005
video, color, sound, 11:00min
The filmmaker wandered Momjan, a quiet Croatian hill town, transcribing as much as possible of what he could see and hear into a film script. This semi-psychotic act of film writing generated an extensive and diverse list of characters, including: a teenage girl in jeans sat on a white wooden chair, a boy on a bmx, an elderly woman sat on a porch with her hands over her face, workman number 4 who stands motionless holding onto a rope, and a female cook, blond with bright ginger highlights and a banshee laugh. An open casting session was held for an afternoon in and around the town hall. Local residents and visitors to Momjan turned up to audition for the part of themselves or someone else. In this film, which is a potential film and always and everywhere, people are variously good and bad at playing themselves. Casting is an opportunity to be other and to think of a town as a film. This is the barest beginnings of an impossible inventory, an always and everywhere Momjan as cinema.

Like a House on Fire, 2006
video, color, sound, 16:00 min.
At the centre of this film labyrinth is a tarot reading in which the invented cards seem to determine or reflect unfolding events on screen. There is a filmmaker trying to write a film, but the house in which he writes is cohabited by the film?s crew, cast and the characters they are playing. Everyone is banging around on and off camera, trying to get into the bathroom, or waiting for the film and its story to happen. This is not a story however, but rather a sequential turning of nonsensical cards: the tampon in the toilet bowl, a light repositioned causing shadow, a man on the floor who cannot separate himself from the house (which may or may not be on fire). This film is Like a House on Fire, a cinematic game of Cluedo in which the lead piping murdered the ballroom using a Colonel Mustard. Every detail is meaningless sign, in shuffle. A film can go anywhere it wants


Steven Eastwood is an artist filmmaker whose practice spans experimental fiction, documentary and essay film, artists' moving image and live art. His single screen films and installations have been exhibited at the ICA, BAFTA, The European Media Arts Festival (Osnabruck), Visura Aperta, Croatia, Stuttgart Film Festival, Germany, Catalyst Arts Belfast, the Lux Centre and Lux Open, Anthology Film Archives NYC, the Brief Encounters Festival, Bristol, and Raindance East Festival, London. Previous films include: The Film We Didn't Make (2006), Like a House on Fire (2006), The Film (2004), Of Camera (2003), Different Systems of Chaos (2003), The End (2002), Those Who Are Jesus (2002), I Make Things Happen (2001). Recent installations and performances include The Film, The Film, The Film at MM Luka Gallery Croatia (2006), Come As You Are at Killing Time, Tou Scene Centre of Contemporary Art, Oslo (2005) and I Make Things Happen trilogy at Minus One exhibition, Aldwych Gallery, London (2004). Eastwood has been the recipient of a number of grants and awards, and was a featured Artist in the Artists' Newsletter supplement on art in social space, summer 2005. He has written a number of conference papers and articles on filmmaking as a social situation and regularly programmes screenings of artists' film and video.

Eastwood works with the vernacular of film fiction and the documentary, and the collapse of this vernacular, investigating behaviour on and off screen, particularly in terms of the 'take' as a behavioural gap. He is interested in the lived situation of filmmaking and the collective idea of what constitutes a proper cinematic form. His films and cinema interventions veer between genres, are crystalline, performative, not easy to classify, are often unfinished and involve emergent and unpredictable activity. A recent film, The Film (2004), has been described as "Last of the Summer Wine directed by Chris Marker." Its predecessor, Of Camera (2003), is something of a Trojan horse that has been wheeled into numerous film festival screenings around the world only to unpack and make a mess of other narrative dramas around it.

Eastwood is currently a visiting Assistant Professor in Film at SUNY Buffalo and working on a doctoral theory/practice research project at UCL The Slade, London titled Cinema into the Real. SUNY Buffalo and The Slade were recent hosts to two artists' film & video conferences curated by Eastwood based on the film philosophy of Gilles Deleuze: Interval (1) and (2). Between 1999 and 2002 he was Senior Lecturer and time-based arts area coordinator at the University of Plymouth, Exeter faculty of Arts. In 1997 Eastwood formed the production company Paradogs, whose first feature length documentary, Those Who Are Jesus was nominated in 2001 for the prestigious Grierson Award in the Category of Best British Newcomer. In 1996 Eastwood co-founded the Volcano! Underground film festival (1996-2000) and also that year formed OMSK, a London-based film, performance and sound platform for emerging artists, which has staged more than 40 events nationally andinternationally.