Program 6 | the clouds contain multitudes
7:00 PM | Sunday May 17th 2026 | Woodland Pattern
720 E Locust St | Milwaukee, WI, 53212
Tales of Lake Dian, Sylvie Denet, 7min
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Does the Sea Have a Heart? Miglė Križinauskaitė, 7min 21sec
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A poetic essay, an ode to the sea, which has no human figure at its centre, but only traces in the sand, echoes, and presence through absence. It is through this absence that the essence of the human spirit is best revealed. As Kahlil Gibran wrote: “There must be something strangely sacred in salt. It is in our tears and in the sea.”
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Miglė Križinauskaitė is an experimental filmmaker and audiovisual artist from Lithuania, working with analogue media across moving and still images. Drawing on embodied perception, the poetics of place, and the textures of memory, her practice explores how the flow of movement, attention, and perception shapes image-making. She holds an MA in Film Directing from the Lithuanian Academy of Music and Theatre and is currently pursuing a PhD in practice-based artistic research titled “Travelogue as Dreamscape: An Experimental Analogue Film Practice”. She has directed eight short films, which have screened at numerous international festivals, including 25 FPS Festival, (S8) Mostra de Cinema Periférico, Alchemy Film and Moving Image Festival, Experimental Film Festival Process, Kinoskop – Analog Experimental Film Festival, and OBSKURA – Analog Film Festival, among others.
Águas e espelhos (Waters and Mirrors), Mariana Calo & Francisco Queimadela, 8min 30sec
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“I plunge in myself, so I can spring from myself.” G.Bachelard, L’Eau et les rêves – 1942
“Águas e espelhos” (Waters and Mirrors) was filmed in Buçaco forest., in contact with the plant, animal, hydric and architectural heritage of this national park.Through the freshness of the springs, we took a mirror and dipped it into a fountain.
Between the oscillating effect of the glass and the mirror of the water itself, we see a merman position itself at the surface. We follow the shadows of the Arboretum, the Valley of Ferns and the Relic Forest. We waited by the staircase, next to the watercourse, as living beings were reflecting in moving images.
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Mariana Caló and Francisco Queimadela started their sharing and collaboration during their studies at the Fine Arts Academy in Porto and have been working as an artists duo since 2010. Their practice is developed through the privileged use of moving images, crossing installation and site-specific environments, drawing, painting, photography, sculpture and cinema.
Void Part III: The Eternal Record, Pathompon Mont Tesprateep, 12min
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The Eternal Record re-imagines Lao-Isan traditional music, performed as a simulated ritual of renewal for trauma. The composed music and lyrics interweave two narratives: one of a fictional invention that extracts collective memory and consciousness, projecting it as a spectral human form; the other, a wound from history—one that, in another time or place, might already have undergone collective repair or been officially acknowledged.
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PATHOMPON MONT TESPRATEEP was born in Bangkok and raised in Isan, northeastern Thailand. His films employ cinematic poetry to explore the layered nature of memory and consciousness, tracing how personal and collective histories intertwine and persist. Built from layered sound, image, and texture—from celluloid to digital—they evoke trance-like immersive experiences, revealing residual traces of trauma, ideology, and forgotten histories. Often described as a poetics of disappearance, Mont’s practice considers the political and social imprint of memory, positioning his work in contemporary Southeast Asian cinema.
Mont has been working on a series of hand-processed 16mm and S-8 films, including Endless, Nameless (2014) – winner of the R. D. Pestonji Award at the Thai Short Film Festival – Song X (2017), and Confusion Is Next (2018). he also made Pleng-Krom-Dek (Lullaby) (2019), Fatimah & Kulit (2019) and The Eternal Record (2025) which are part of an on-going film project “VOIDS” (2019-present). His works have been presented at film festivals such as Locarno Film Festival, International Film Festival Rotterdam, Les Rencontres Internationales, BFI London Film Festival, Curtas Vila do Conde, London Short Film Festival, and Bangkok Experimental Film Festival, as well as in contemporary art contexts including Biennale Jogja XV and Migration–Speaking Nearby at ACC, Gwangju, among others.
Mont is currently developing his debut feature film, Tremble Like A Flower (working title), which has received script and project development support from the Hubert Bals Fund (HBF). The project was awarded the Grand Prize at SEAPITCH, part of the Bangkok ASEAN Film Festival (BAFF), and was recently selected for La Fabrique Cinéma, Cannes 2024 and received production support from the Thailand Creative Content Agency (THACCA).
(cries happily) | 10 scenes on a feeling, Chester Toye 18.5
