Moving images circulate as ongoing presences, returning currents, and shared points of attention across the festival’s time·spaces. It is meshed by a shared question: What kinds of forces are released when minerals and languages are dislodged from their grounds and set in motion as images, signals, and code? Across durational loops and scheduled encounters, moving images are treated as currents - carrying the afterlives of environments and LAN·scapes shaped by extraction, translation, and technological acceleration. Petna Ndaliko Katondolo ’s Katasumbika runs long-durationally in repetition as a film one listens to as much as one watches. It reflects on mineral extraction and colonial afterlives in eastern DR Congo by braiding together sound and image that sustains so-called “development”.

This triptych brings together three distinct cinematic works that operate as neighboring currents within a shared hydrological and cosmotechnical field. Tianzhuo Chen ’s Ocean Cage moves through mythic and performative registers, staging the ocean as a charged container where ritual, choreography, and constraint collide. Montika Kham-on ’s Afterlives attends to spiritual persistence and transformation; the film proposes afterlife not as elsewhere, but as an ongoing condition - folded into the present through memory, ritual, and apparition. Juan Covelli 's ATRATO follows the river as a living subject and legal entity; the film treats the river as a relational being shaped by extraction, violence, and community struggle, while insisting on riverine knowledge as a guide for ecological justice and collective orientation. This triptych invites viewers to navigate between saltwater and freshwater, ritual and frameworks, myth and material struggle, proposing cinema as a compassing practice attuned to the estuarine zones where worlds converge.

Alongside durational presences, the programme gathers films and performances that follow extracted matter and speech as they mutate into techno-fossils: minerals becoming semiconductors, semiconductors becoming algorithms, algorithms becoming rhythms tapped, spoken, subtitled, swiped, and scrolled by fingers. Works such as Air Conditioner, Neptune Frost, After the Abyss (excerpt only), Recorder: The Marion Stokes Project, Seeking Mavis Beacon, Who’s Afraid of Ngũgĩ, and AI: African Intelligence, Wisisi Nit Meke on West Papuan Wisisi music, and a trilogy on chip infrastructures across Taiwan, Dresden, and the United States, trace how computation and language are grounded in geology, labor, accent, and rhythm.