Future Ethics Future Ethics is not merely a speculation about the future, but an exercise in re-learning how to coexist. It refuses to place humanity at the center of the world, instead turning to the long-ignored voices of the earth—soil, plants, animals, minerals, wind, and water—and to the knowledge and memory that circulate among them. In the face of accelerated urbanization, capitalist expansion, and ecological collapse, we must rethink the temporal scale of ethics: not

A Translational Reality The word PRISMA across many languages while keeps the same meaning. It refracts and disperses, revealing the inner gradations of light while giving language and culture new forms in transmission. Like a translated word itself, it never settles into a single, unified meaning. It is always in motion, in convergence—generating new spectrums within the interstices of light and language. Cultural identity is never an already-given essence, but a form of “b

The Beijing International Short Film Festival (BISFF) is pleased to announce the distinguished jury for its 2025 edition. The jurors, comprising filmmakers, scholars, and producers, will oversee three competition sections: International, Sinophone, and NOVA. Their diverse visions reflect the festival’s commitment to dialogue across cultures and cinematic forms. 北京国际短片联展（BISFF）正式公布2025年度评审阵容。「国际」「华语」与「NOVA」三大竞赛单元将由来自不同文化背景的导演、学者与制片人担任评审。他们的视角将为本届评选注入更多元的维度，并推动影展在影像形式与文化经验之间的深入

Reimagining the Dark Side of the Moon In 1973, the British rock band Pink Floyd released their magnum opus,  The Dark Side of the Moon , an album that uses the moon as a fulcrum to reflect on the shadowed and morally fraught recesses of the human psyche. The central metaphor is far from novel; rather, it draws upon a long-standing lineage of Western thought that entwines the moon with madness. Since the Middle Ages, the moon has been perceived as a celestial agent of derangem

Syntax of Intervention   When we frequently invoke the term “experimental”  to describe the qualities—or even the very essence—of moving images, what we refer to may no longer point singularly to a genre, method, style, or spirit. The boundaries of “experimental film” as a category of visual culture remain in constant flux. As Jacques Rancière argued in The Future of the Image , the images refer to nothing else, yet it is not what people frequently claim them to be intransiti