James Newitt (born 1981 in Hobart, Tasmania) is an Australian visual artist and filmmaker based in Lisbon. His research-based practice combines historical investigation, public engagement and observation of social dynamics. Working across film, photography, text and installation, he explores the relationships between individuals, territories and collective narratives. His work has been presented at numerous international institutions and festivals across Europe, Australia and Asia. Throughout his career, he has received numerous residencies, grants and awards.

Born and raised in Iran, Maryam Tafakory is a visual artist whose work takes the form of textual and filmic collages combining poetry, speculative non-fiction and archival material. Exploring the different registers through which images speak or refuse to speak, her work seeks to dissect veiled acts of erasure — of bodies, intimacies and histories. Her research projects focus on what is often overlooked and dismissed as trivial or excessive. She has created a body of films, performances and video essays in dialogue with post-revolutionary Iranian cinema.

Carine Doumit is an editor, writer and artistic consultant based in Beirut. Her work lies at the intersection of editing and writing, and extends across documentary features, film essays, experimental videos, installations and performances. She regularly collaborates with filmmakers and artists on the development and structure of their projects. A lecturer in the Audiovisual Department at Saint Joseph University since 2007, she also contributes to numerous workshops and training programmes for emerging filmmakers. Her work explores the relationships between narrative, memory and cinematic form.

Victoire Karera Kampire (born 1990) is a Belgian-Rwandan filmmaker and sound artist. She holds a Master’s degree in New Media and Society from Vrije Universiteit Brussel and graduated from LUCA School of Arts. She develops a practice situated at the intersection of documentary, fiction and experimentation. Her films explore memory, absence and the invisible traces left by history, through reimagined archives and ghostly presences. Her work has been presented in various artistic and cinematic contexts in Belgium and internationally.

Carlos Casas (born 1974 in Barcelona) is an artist and filmmaker whose practice encompasses cinema, sound and visual arts. Trained in fine arts, film and design in Barcelona and Vienna, he has been developing projects for more than twenty years at the intersection of documentary, installation and audiovisual experimentation. His work has been presented at major institutions including Tate Modern, Centre Pompidou, Palais de Tokyo, Fondation Cartier and Bozar, as well as at numerous international festivals including Venice, Rotterdam, FIDMarseille and CPH:DOX. His work frequently explores extreme territories, soundscapes and the relationships between humans and their environments.

Beny Wagner (born 1985 in Berlin) is an artist, filmmaker, writer and researcher based in the UK. Working across film, text, installation and performative lectures, he constructs non-linear narratives that question the limits of human perception, the body and systems of knowledge. For several years, he has collaborated closely with artist and filmmaker Sasha Litvintseva. Their work has been presented at numerous international festivals and institutions, including the Berlinale, International Film Festival Rotterdam, Museum of the Moving Image in New York, Transmediale and on the Criterion Channel.

Nicolás Pereda (born 1982 in Mexico City) is a Mexican-Canadian filmmaker whose work blurs the boundaries between fiction and documentary. A graduate of York University in Toronto, he has been developing a minimalist and distinctive body of work for nearly twenty years, attentive to social realities, family relationships and class structures in Mexico. His films have been presented at major international festivals including Venice, Berlin, Rotterdam and Toronto. His work is characterised by fragmented narratives, understated humour and a particular attention to everyday gestures.

Mohanad Yaqubi (born 1981 in Kuwait) is a Palestinian filmmaker, producer, researcher and programmer. He co-founded the independent production company Idioms Film in Ramallah in 2004. He is also a founding member of the curatorial collective Subversive Film and the Palestine Film Institute, two initiatives dedicated to the preservation, research and dissemination of Palestinian cinematic heritage. His work explores the relationships between cinema, memory, archives and anti-colonial struggles, with a particular interest in militant filmmaking practices and transnational networks of solidarity. Since 2017, he has been a researcher and lecturer at KASK School of Arts in Ghent, where he conducts research into the aesthetics of cinemas of political solidarity.

His first feature film, Off Frame AKA Revolution Until Victory (2016), a reflection on the archives of Palestinian revolutionary cinema, was presented at numerous international festivals, including the Toronto International Film Festival, the Berlinale and Cinéma du Réel. His second feature, R21 AKA Restoring Solidarity (2022), continues this exploration of archives and histories of international solidarity through a collection of Palestinian films preserved in Japan. His works have been presented at institutions and festivals including documenta fifteen, IDFA, the Marrakech International Film Festival and True/False.

Through his films, research and curatorial work, Mohanad Yaqubi contributes to bringing visibility to images, narratives and histories that have often been marginalised, while questioning the role of cinema as a tool for resistance, transmission and collective memory.

Reem Shilleh is a researcher, curator, editor, writer and artist based between Brussels and Ramallah. Her work develops from long-term research into militant and revolutionary filmmaking practices in Palestine, its diaspora and its international solidarity networks. Through cinema, archives, writing, editing and curatorial research, she explores the relationships between collective memory, political history and the circulation of images.

At the heart of her practice is the notion of the “imperfect archive”: an understanding of the archive as a living process rather than a fixed institution. Her research focuses particularly on films produced during the period of the Palestinian Revolution (1968–1982), and on the ways in which these images, often marginalised or forgotten, continue to act upon the present. Her work thus explores forms of transmission, disappearance and reactivation of collective memories.

In 2011, she co-founded the research and film programming collective Subversive Film with Mohanad Yaqubi, based between Ramallah and Brussels. Through this platform, she contributes to the restoration, digitisation, subtitling and dissemination of historical works related to Palestine and international liberation movements. Subversive Film projects have been presented at numerous international institutions and events, including the Berlinale, documenta fifteen, the Sharjah Biennial, the Yamagata Film Festival and Doc’s Kingdom.

Her recent projects include The Space Between: The Invocation (2019), Desires into Fossils: Monuments Without a State(2017) and Perpetual Recurrences (2016), a montage work that revisits several decades of Palestinian cinema through its recurring motifs. She is also a co-founder of The Kitchen, a Brussels-based space for research, collective work and artistic experimentation.

Yaël Bitton is a French-Swiss editor, filmmaker and artistic consultant working between France, Switzerland and internationally. For more than twenty years, she has supported filmmakers from around the world in the structuring and writing of creative documentaries and film essays, several of which have received awards at major festivals including IDFA, Sundance, Locarno and the Berlinale. A sought-after artistic collaborator, she regularly works as an expert and tutor for prestigious development programmes such as Eurodoc, the Doc Nomads Master and the Circle Women Doc Accelerator. Her editing practice places questions of ethics, the appropriate distance from protagonists, and the transformation of intimate narratives into universal propositions at the heart of her pedagogical and artistic approach.