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Calling Mr. Smith

200.000 Phantoms

Dream Empire

David Borenstein is an American director currently based in Copenhagen. He has directed films for ARTE, Al Jazeera English, Horisonts, NYTimes, and more are underway. He was a cinematographer and producer for the Sundance-funded film, The Hand that Feeds, which won the audience award at the Full Frame Film Festival. A China scholar, he received PhD training in Anthropology at the City University of New York. He began developing China Dreamland while on a Fulbright scholarship in China to study urbanization and real estate speculation. David speaks fluent Mandarin Chinese.

Tomorrow We Disappear

Jimmy Goldblum began his career as an interactive director and producer. In 2008, Goldblum won the Emmy for "New Approaches to Documentary" for Live Hope Love, an interactive documentary he produced for the Pulitzer Center. Goldblum also wrote, filmed, and produced “The Institute for Human Continuity”, an online narrative for Sony Pictures’ film 2012, which is widely considered one of the most successful transmedia campaigns of all time. Additionally, CNN called his first interactive documentary, “Yearbook 2006”, “so special…the best of the best” of all Hurricane Katrina documentaries. Goldblum's projects have won an Emmy, a Webby for Best Art Project, and have been featured in the New York Times, Washington Post, Time Magazine, and USA Today.

Weber is an editor, director, and writer who has worked for major film and television studios in New York and Los Angeles. He edited Michel Gondry’s Is the Man Who Is Tall Happy (IFC Films), an animated documentary about Noam Chomsky, which IndieWire named one of the top three documentaries of 2013. Weber was an assistant editor on Gondry’s The Green Hornet, and previously worked as the apprentice editor on Quentin Tarantino’s Inglorious Basterds.

#doinggood

Why Colonel Bunny was Killed

Miranda Pennell worked in contemporary dance before making films, and later studied visual anthropology. Her film and video work exploring different forms of collective performance has been broadcast internationally and presented in festival and gallery contexts. Her recent moving-image work uses archival materials as the starting point for a reflection on the colonial imaginary. Her film Why Colonel Bunny Was Killed (2010) was awarded best international film at the 2011 Images Festival, Toronto, and Courtisane Festival, Ghent. Pennell’s feature-length film The Host (2015), which reworks material drawn from the archive of the Anglo-Iranian Oil Company (now BP), won the Punto de Vista Award for Best Film (Pamplona) in 2017. She has worked as a contemporary dancer, a freelance commercials director, a teacher, and she also writes and curates.

Friendly Fire

Aphasia

Visszhangok

Thule Tuvalu

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