Normalization of inequality is enacted bluntly and perniciously, hiding in plain sight as an oppressive homogeneity that rejects and represses with fists both bureaucratic and ungloved. The deficit of care for the social body elicits protests across generations. Abortion clinics, needle exchanges, and collaborative communication point to mechanisms of resistance against the ache of violent pressure.
Program:
Subhuman Services (2025, US, 16’)
Dan Schneidkraut
MAIO (2025, PT, 12’)
Claudio Carbone
Suspicions About the Hidden Realities of Air (2025, US, 9’)
Sam Drake
As Long As We Can (2024, US, 11’)
Kristy Guevara-Flanagan
Love is the Drug (2025, US, 18’)
Liz Roberts
Invisible Machines (2024, US, 24’)
Yelena Gluzman
Bringing together histories of feminized labour with ethnographic scenes of stenographers captioning for d/Deaf students in the classroom, this experimental film considers how captioners and their clients make sense of demands for invisibility, neutrality, and access. Formally, by interrupting the normative coherence of sound and image, the film reflexively undermines the fluency of its own audio track to make palpable the nuanced interpretive work that goes into transcribing across modalities.
- Year2024
- Runtime24 minutes
- CountryUnited States
- DirectorYelena Gluzman
Normalization of inequality is enacted bluntly and perniciously, hiding in plain sight as an oppressive homogeneity that rejects and represses with fists both bureaucratic and ungloved. The deficit of care for the social body elicits protests across generations. Abortion clinics, needle exchanges, and collaborative communication point to mechanisms of resistance against the ache of violent pressure.
Program:
Subhuman Services (2025, US, 16’)
Dan Schneidkraut
MAIO (2025, PT, 12’)
Claudio Carbone
Suspicions About the Hidden Realities of Air (2025, US, 9’)
Sam Drake
As Long As We Can (2024, US, 11’)
Kristy Guevara-Flanagan
Love is the Drug (2025, US, 18’)
Liz Roberts
Invisible Machines (2024, US, 24’)
Yelena Gluzman
Bringing together histories of feminized labour with ethnographic scenes of stenographers captioning for d/Deaf students in the classroom, this experimental film considers how captioners and their clients make sense of demands for invisibility, neutrality, and access. Formally, by interrupting the normative coherence of sound and image, the film reflexively undermines the fluency of its own audio track to make palpable the nuanced interpretive work that goes into transcribing across modalities.
- Year2024
- Runtime24 minutes
- CountryUnited States
- DirectorYelena Gluzman