BISFF2025｜NEUTRON Mid-length Film Programme 中子：中片特展

Hostile Landscapes, Zhang Hanwen, 2025

A Critical Intermediate State

The duration of a mid-length film often provokes unease. It belongs neither to the briskness of a short film nor to the grandeur of a feature, yet within this in-between space brews a particular tension. Like a cluster of solitary neutrons—uncharged, orbitless—they hold structures together while forever on the verge of fission.

BISFF 2025’s “Neutron: Mid-Length Films” presents seven films from Catalonia, the Amazon basin, North America, eastern France, and China’s southern coast and northeast. Distinct in form, language, and tone, these works establish a deep resonance across time and medium. They speak of the unfinished, of histories that are endlessly rewritten, and of the blurred boundaries of perception.

In Eastern Anthems (2024), Jean-Jacques Martinod and Matthew Wolkow borrow the cyclical rhythm of cicadas—seventeen years underground—to mirror a state of creative drift in the post-pandemic world. This passed-along, collaged, and technically imperfect “unfinished” film captures the resonance between nature and humanity, between images and reality.

Palimpsest (2024) turns its gaze to a museum affected by fire. André Di Franco and Felipe Canêdo conjure, through the echoes of images and sound, the specimens and archives lost to the blaze. “Palimpsest” means constant rewriting—after catastrophe, how do we confront the crisis of memory, and how does culture inscribe itself anew upon ruins?

The Blue Flower in the Land of Technology (2024) is the final work of the late artist Albert García-Alzórriz, whose EYES / EYES / EYES / EYES (2020) was shown at BISFF five years ago. Following his sudden passing in 2023, this film stands before us like an unfinished sculpture—silent yet radiant. With the precision of an architect and the reflection of a philosopher, García-Alzórriz observes the whiteness of hospitals and the logic of machines. As its title suggests, that “blue flower” blooming within the realm of technology embodies an impossible healing: under the totalizing gaze of high-tech medicine, does the will to live still echo? This film became his final meditation on life itself.

Contact Lens (2024), directed by Lu Ruiqi, is a loose yet piercing visual diary. Through repeated playback of cinematic fragments, a woman re-sculpts herself within the mirrored surfaces of daily life. Water, screen, and body form three layers of membranes—freedom seems to dwell precisely in their interstices.

In Hostile Landscapes (2025), Zhang Hanwen reconstructs the traces of a real fugitive into a poetic archaeology of history. Between northeastern terrain and border politics, the film whispers of power and topography—drones converse with the ground, visibility meets the unseen, and the landscape becomes a silent witness to political violence.

Avis de passage (2025) follows a young woman facing fragments of an unfinished film. Ferdinand Ledoux treats the fissure between memory and image as a forbidden zone—a labyrinth of emotions that must be quietly traversed. It is a journey through seeing, loss, and belated restoration.

In Frau Adélaïde Troffea (2025), Arthur Chopin revisits the sixteenth-century “dancing plague.” Through a restrained, archival dramaturgy, the film transforms the “woman who danced herself to death” into a projection of religious, scientific, and political desire.

NEUTRON is both a temporal measure and a curatorial stance. We focus on works born in states of critical tension—films that resist classification and consumption alike. They are solitary neutrons, releasing brief yet far-reaching radiation before matter takes form—slow, hesitant, but unfailingly precise. (DING Dawei)

临界中间态

中片的时间长度常常令人不安。它不属于短片的迅疾，也未抵达长片的宏大，却在这中间地带酝酿出某种特有的张力。像一颗颗孤独的中子——既不带电，也无稳定轨道，它维系着结构，又随时可能触发裂变。

BISFF2025的“中子：中片特展”由七部作品构成，分别来自加泰罗尼亚、亚马逊平原、北美和法国东部，以及中国南方沿海与东北。这些作品在形式、语义与体裁上各异，却在时间与媒介之间建立起一种深沉的回应关系——它们讲述未完成之物、被不断覆写的历史，以及边界感知的模糊地带。

在《东部的颂歌》（Eastern Anthems, 2024）中，让－雅克·马蒂诺（Jean-Jacques Martinod）与马修·沃尔科（Matthew Wolkow）借用昆虫复归的节奏——蝉的十七年周期——去映照创作者在大流行后的漂移状态。这部被传递、拼贴、甚至带有技术缺陷的“未完成”影像，呈现了人与自然、影像与现实之间的共振关系。

《覆写本》（Palimpsest, 2024）将镜头对准一座在火灾中毁灭的博物馆。安德烈·迪·弗兰科（André Di Franco）与费利佩·卡内多（Felipe Canêdo）用纪录与声音残响召唤被焚毁的标本与档案。片名“Palimpsest”意味着不断重写——一场灾难过后，我们该如何面对记忆的危机？文化又如何在废墟之上重新书写自己？

《技术之境的蓝花》（The Blue Flower in the Land of Technology, 2024）是艺术家阿尔韦特·加西亚－阿尔索里斯（Albert García-Alzórriz）的遗作。他的《眼／眼／眼／眼》（EYES / EYES / EYES / EYES, 2020）曾在五年前的BISFF展出。在他于2023年骤然离世后，这部作品如同一座未及完成的雕塑，静静矗立于我们面前。阿尔索里斯以建筑师的构图与哲学家的凝视，注视医院的洁白与机器的规律。影片如其名——那朵“技术之地中的蓝花”——象征一场不可能的疗愈：在高科技统摄下，生命的意志是否仍有回响？这部影片，也成为他对生命最后的思索。

《河马皮肤》（Contact Lens, 2024）由鲁瑞琪执导，是一部结构松动却锋利的影像日记。影片通过不断回放的电影场景，展现一位女性在镜面般生活中的自我重塑。水、屏幕与身体构成三重界限，而自由似乎恰恰潜藏在这些薄膜的缝隙之间。

张瀚文的《不明的风景》（Hostile Landscapes, 2025）将一名真实逃亡者的足迹重构为影像诗篇，在东北风景与边界政治之间，构建一场低语的历史考古——地貌与权力的纠缠、无人机与地表的对话、可见与不可见的边界，使地景成为政治暴力的沉默见证。

《过往的痕迹》（Avis de passage, 2025）展现一位年轻女性在面对一段未完成影像时的凝视与犹豫。费迪南·勒杜（Ferdinand Ledoux）将记忆与影像的裂缝视作一种禁区——必须悄然穿越的情感迷宫。这是一段关于观看、失落与迟来修复的旅程。

在《阿代拉伊德·特罗菲娅女士》（Frau Adélaïde Troffea, 2025）中，阿蒂尔·肖邦（Arthur Chopin）重访16世纪那场被称作“舞蹈瘟疫”的神秘事件。影片以冷峻的文献剧形式，让“跳舞至死”的女性身体成为宗教、科学与权力交织下的隐喻性投影。

NEUTRON既是一种影像长度，也是一种展示态度。我们关心的是那些在临界状态下被迫表达的作品——既无法被归类，也拒绝被消费。它们如同孤立的中子，在物质尚未成形之前，发出短促却深远的辐射，迟钝却准确。（丁大卫）

check here to see full NEUTRON: Mid-length Film list

Avis de passage, Ferdinand Ledoux, 2025

Eastern Anthems｜东部的颂歌

Matthew Wolkow, Jean-Jacques Martinod 马修·沃尔科，让－雅克·马蒂诺

2024｜1:18:00｜Canada, US, Ecuador｜French, English, Spanish｜Chinese Mainland Premiere

Palimpsest｜Palimpsesto｜覆写本

André Di Franco, Felipe Canêdo 安德烈·迪·弗兰科，费利佩·卡内多

2025｜1:03:13｜Brazil｜Portuguese｜International Premiere

Avis de passage｜过往的痕迹

Ferdinand Ledoux 费迪南·勒杜

2025｜1:00:05｜France｜French｜World Premiere

Frau Adélaïde Troffea｜lais Frau Adélaïde Troffea｜阿代拉伊德·特罗菲娅女士

Arthur Chopin 阿蒂尔·肖邦

2025｜0:47:49｜France｜French｜World Premiere

The Blue Flower in the Land of Technology｜Die blaue Blume im Land der Technik｜技术之境的蓝花

Albert García-Alzórriz 阿尔韦特·加西亚-阿尔索里斯

2024｜1:15:20｜Spain｜German｜Asian Premiere

Contact Lens｜河马皮肤

Lu Ruiqi 鲁瑞琪

2024｜1:18:09｜China｜Mandarin Chinese｜Asian Premiere

Hostile Landscapes｜不明的风景

Zhang Hanwen 张瀚文

2025｜1:00:00｜China, Germany｜Mandarin Chinese｜Chinese Mainland Premiere