A story about money, power, exploitation, and many possible ends of the world. Some long for Mars, others for heaven. Some dance the humppa on the moon. In this short and tragicomic play, every one of us has our own small part to play.

An essay film that adopts a lyrical and distinctly queering approach to sexual identity, social dynamics, and everyday life in contemporary China. Through the psychoanalytic and introspective voiceover of a young post-pandemic Chinese migrant in Europe, the film interweaves her private memories of intimacy with public narratives of resistance. As her reflections unfold, she and her community navigate secrecy, repression, survival, looming precarity, and displacement, confronting the personal cost of existing in the current age of turbulence and regression, in a world that demands their silence.

This is a 2 channel installation consisting of two separate films made by painting directly onto 35mm film and working with various chemical solvents. The two films are projected side by side and slightly out of sync, creating a type of 'visual stereo' as thePassengersy make random juxtapositions. The soundtrack being slightly out of sync creates an echo, so as the audience moves around the installation the sound changes, creating an aural sense of the space.

The boundaries between dream, memory, cinema, and different parts of the self dissolve to ravishing effect in this latest short by Los Angeles-based Chinese artist Zhuoyun Chen. Moving woozily between diary, autofiction and free association, “It Must Be Because I Decided to Leave” is awash with half-remembered exchanges, infectiously surreal images and the narrator’s desire to make sense of things, which never quite happens. Oneiric motifs of all kinds abound: Rocks are clasped by hands or merge with faces, screens appear in windowpanes or headlights, a gleaming red sports car spins in the California desert, a shadowy figure walks into a cave, and a dog rises up from a pool in reverse, its scrabbling limbs rendered in elegant superimpositions. The narrator shuttles through thoughts of desire, family and dislocation and refers to any number of “yous” and “Is”, although they could easily be one and the same. If “we all have landscapes inside”, this is a journey through them.