As If No Misfortune Had Occurred in the Night

Director: Larissa Sansour, Soren Lind

Year: 2019

A sci-fi short set in the aftermath of an eco-disaster. An abandoned nuclear reactor under the biblical town of Bethlehem has been converted into an enormous orchard. Using heirloom seeds collected in the final days before the apocalypse, a group of scientists are preparing to replant the soil above. In the hospital wing of the underground compound, the orchard’s ailing founder is on her deathbed, as her young successor, who is born underground, comes to visit her. The talk between the two scientists soon evolves into an intimate dialogue about memory, exile and inherited trauma. Official Selection BFI London Film Festival 2019 - Official Short Film Competition - Experimenta Strand

Director: Jing Zhao

Year: 2025

After being ghosted by a romantic partner during a trip to Bangkok, the artist situates a contemporary act within a timeless Southeast Asian ghost cultural gesture, transforming personal heartbreak into a surreal exploration of ghosthood while reimagining its embodiment through ten playful yet haunting guidelines. Shifting between satire and introspection, the film contemplates the fragility of relationships and the futility and opacity of communication in the hyper-connected digital age.

Director: Rosario Hurtado, Roberto Feo, Stuart Bannocks

Year: 2025

AS TIME SWALLOWS TIME weaves fragmented narratives into a poetic dialogue between two entwined inquiries. The first engages with the curatorial focus of BIO28 (Ljubljana Design Biennale), which interrogates the historical symbolism linking women to flowers - figures of fragility, sensuality, and objectification - and the ways these associations have been reclaimed and subverted. The second unfolds as a speculative exploration of time and temporal perception as forces shaping human consciousness and evolution. Together, these threads compose a meditation on transformation, perception, and the cyclical nature of existence. Constructed through the juxtaposition of narrative fragments, the film layers scenes in a manner that invites viewers to navigate and reassemble its temporal and conceptual terrain. The film presents a dialogue between the Ljubljana Biennale’s curatorial theme, “Do You Speak Flower?” which explores the historical contexts in which women have been symbolically linked to flowers—figures of fragility, sensuality, and objectification—and how those associations have been reclaimed and subverted, and this theme directly, and the authors speculative exploration of time, temporal perception and post humanity.