Day 3: Resistance of Film, Layers of Watching & Digital-Analogue Truce

If at the end of a working week you're holding your head in your hands, slapping your cheeks to bring back colour and wondering what the devil is holding you by the neck and suck the precious creative energy out of you, then you are in the same pickle as the title protagonist of the cinematically transgender piece The Lost Dreams of Naoki Hayawaka, also borrowing the name to today's Jury's Choice slot (SC Cinema, 4pm). 

The master of ceremony is Mads Mikkelsen, the programmer of CPH:DOX, the titles he is presenting are mostly recent Danish productions (with the above Norwegian-Japanese exception), and ameliorating hypotheses of a symbiosis between nature and society, analogue and digital, will lull you into safety before they slip the chair beneath our asses and tell us off for naively believing that film has anything to say and show us, apart from the texture of the material it is made of.

After a panicked lap around the Student Centre, we go back and up, to measure and bring down Scales (Competition #4, 6pm). Our favourite jailer Peter Burr is submerging us into a 'naïve stereotypical bath', a living predator body feeding on our pathology, tickling our imagination and returning us eternally to the beginning. We let go to silent ventriloquism and fall into the infinite realm of shadows (Shadow Machine). We go through life learning how to watch in layers and cope with the impossibilities of language (Almost Nothing: So Continues the Night). Lonesome inanimate spectres roam around unknown living landscapes searching for more certain territories, identities and cognitions (Peacekeeper, What Happens to the Mountain). A collaboration between analogue phantoms and digital tracking reproduces bodies and dissects them into spectrums (Walking Cycle). Multi-screen compositions delineate the texture of decay and anatomise the resulting chaos into small, painstaking units (upCyles).

We feel dizzy – we clearly cannot come to a realisation without ceasing to deconstruct the very process of searching for cognition, but how far can all this multiply without becoming simply mess? We turn to Charts (Competition #5, 8pm), some reveal new things where we wouldn't even remember to look. Architects of virtual worlds lead us through simulated scenes of historic traumas that defy reality and trip on their own obsessions, potentials and limitations (Another Planet). An anonymous stranger armed with a piece of green cloth manipulates and distorts our perception of space on the streets of Brazil (Green Screen Gringo). Landscapes collide and ravines expand into a frenetic mechanical space-lapse collage (Meridian Plain).

To curb the broadness, today's story ends with the last in the series of this year's Expanded Cinema performances. The Canadian visual artist and member of one of the most significant post-rock bands in the history of this hapless musical genre, Karl Lemieux and the Swedish sound artist BJ Nilsen await at the French Pavilion at 10pm, where they will turn on their 12 16mm projector structure to immerse us into their abstract vision of actual landscape, which jumps from a megalomaniac building project to a zone of collective unconsciousness. A magnificent mobilisation of sounds and scenes from the Chinese region of Yujiapu gives voice to silent ghosts of grand human strivings and reminds us of yet another lost dream – a testament to the fact that certain dreams work better as artistic creations than real-life socio-political processes.