Series of recent works that reflect on the perception and interaction of images in the contemporary world, both in their impact on everyday life and on landscape and nature. At a time when screens have become omnipresent and created a significant effect on the ecosystem, these films reflect on the collision of the multiple images and viewers that digital devices generate when entering spaces, tinging them blue.

Intimacy, affections and creative exchanges between Tom Chomont and Robert Beavers are materialized in these films, in which the two filmmakers simultaneously develop the possibility of a lyrical cinema on the borderline between portrait and psychological drama, eroticism and formal stylization. Their frenetic meditations offer us complementary views of the splitting of the subject and the exploration of sexuality.

The optical printer, a device consisting of one or more projectors mechanically linked to a camera for copying film or creating special effects, is historically associated with industrial cinema. In experimental cinema, a series of women filmmakers appropriated this traditionally masculine tool to explore its relationship with the body, imagination and memory. This session includes an introductory talk on the use and history of the optical printer in experimental cinema by the researcher Julia Cortegana.

In the structuralist films in this session, German Werner Nekes and American Paul Sharits each start out from a single resource: panoramic views of the horizon and the double screening of pure colours. This allows them to musically explore the variations of light and colour, expanding the screen and broadening our perception.