Accessibility information:

Captions: All the films in the screening are captioned

Screening time: The screening is open online from 18 October to 20 October, you can watch the films at your pace and leisure on this site.

Sensory Content Notes are specified under each film. Additionally, the sensory notes will be added at the start of each film. 

This project is mostly self-funded, and we’re aware of its accessibility limitations. If you face any barriers attending the programme in this format, please reach out to us at carefufflecollective[at]gmail.com., so together we can explore alternative options :)

About the screening

‘What could be more queer [crip] than an atom?’ - Karen Barad

There is no ‘absolute’, no ‘fixed’, there’s no destination, only possibility.
A glitch sparks our existence—an audacious act of constant transgression.
We time travel towards the open-ended becoming—deep and profound changes.

The programme dives into queer and crip quantum theory. Marked by breaks, fissures, failures and the possibilities for new arrangements, we time travel to break away from the binaries and the illusions of social and cultural systems. We time travel holding multiple frameworks of ruptures and transformation.

In this journey, we explore how queer and crip identities are not passively situated in the world but actually create it. Queer crip existence, as atoms, form a spacetimematter (space-time-matter) as a unified whole. In this rebellious act of relational worldbuilding, they organise themselves against normative logic and structures.

They exist in many places simultaneously and travel through all possible paths at once, fueled by the shapeshifting potential of queer/crip becoming—both constructive and destructive. Through quantum travel across different temporalities, they offer an alternative sense of history, one that’s entangled with issues of atom bombs, war, militarism, imperialism and colonialism.

The films in this programme, as a constellation, ask how queer/crip quantum might help us hack normative conditioning further. Without a smooth path connecting beginning and end we twist, turn, stretch, shrink, speed up, slow down, move in circles and upwards, jitter, stutter, glitch, and flow, we queer and crip, being swept in a time travel and spacetimematter (space-time-matter) transgression, asking how can we diffract and entwine various temporalities to do justice, or as Marlon Riggs says, “Every time we kiss we confirm the new world coming.”

Films in the programme:

‘Dissolving Beyond the Worm Moon’ (2019) by Bassam Al-Sabah, 18 min

Sensory note: loud dense noise throughout the first five minutes and from 11:00 - 16:20,

fast moving images and patterns from 10:50 till the end. 

Content note: illustration of dead bodies

‘Dissolving Beyond the Worm Moon’ is a hauntingly evocative exploration of how the body's memory of past trauma manifests as dissonances in the present. The film artfully intertwines  time travel, episodic future thinking, and the lived experience of PTSD, depicting the body as a vessel navigating through infinite fractured timelines, where the ruptures and alterations open pathways to radical transformation. The film moves beyond the binaries and conditioned responses embedded in the social collective psyche around violence, memory, trauma and identity in the context of war, while holding and honouring multiple frameworks of experience to do justice. 

Image credit: Still from ‘Dissolving Beyond the Worm Moon’ (2019) by Bassam Al-Sabah. Courtesy of the artist. 

Image Description: In a dark cosmic void, a CGI human figure appears to be dissolving. Their form becomes increasingly less defined, transforming into a fluid, liquid-like state. As they break apart, their body disperses into particles and atoms. The figure’s dissolution evokes a sense of movement and transformation.

‘It’s raining frogs outside’ (2021) by Maria Estela Paiso, 15 minutes

Country: Philippines

Language: Tagalog

Sensory note: Overlapping sounds at different frequencies from 01:40 - 02:10 and fast moving images from 02:20 - 02:30

Content note: Images of drowning and struggle 

In ‘It's Raining Frogs Outside’, Maria Estela Paiso crafts a surreal and haunting vision of isolation at the end of the world. As frogs fall from the sky, Maya returns to her childhood home in the Philippines, only to find that what was once familiar now feels terrifying. Confined to the house, Maya's memories blur into a feverish dreamscape, with no clear beginning or end—mirroring the apocalyptic chaos outside. By exploring the fluidity of time and the body's transformations, the film creates a disorienting experience, confronting memory, trauma and displacement within the seemingly mundane.

Image credit: Still from ‘It’s raining frogs outside’ (2021) by Maria Estela Paiso. Courtesy of the artist. 

Image Description: A light brown-skinned person sitting upright, facing the camera, wearing a red top is framed from the chest to head. Their face is heavily blurred, as if the facial features have been erased or smudged, leaving only a faint, darker outline where the face would be. The person appears still and composed, seated against a backdrop of light wood-panelled walls. The contrast between the clear body and the distorted face creates a strikingly surreal and disturbing effect.

DEEP NEWS (2021) by Eternal Engine, 10min

Country: Poland

Language: Polish

Sensory note: Throughout the film Intermittent occurrences of high frequency sounds and glitching images 

‘Deep News’, a proposal for public television by Eternal Engine in collaboration with Paweł Mazur, envisions a futuristic TV studio where neural networks generate fragmented news scripts and headlines. Set against a vividly constructed 3D backdrop, the presenters appear as flawless deepfakes, blurring the lines between reality and simulation. Through a deconstruction of technological structures, the work reflects on the overproduction of disorientating content of late capitalism. It invites viewers on a frenetic, psychedelic journey into a world teetering on the edge of dimensions–glitching, stretching, jittering, to expose the artifice of the social and cultural system, and asking, are we being led to an inevitable doomsday?

Image credit: Still from ‘DEEP NEWS’ (2021) by Eternal Engine. Courtesy of the artist. 

Image Description: Two white people dressed in black sit at a glowing, illuminated desk, each holding white sheets of paper as if reading the news. Both have long blonde hair and are wearing black sunglasses. A bright orange light shines on the person to the right, casting a warm glow over them. Surrounding them are CGI creatures resembling crustaceans, with pink and blue hues, which appear to be approaching or hovering around them. The surreal scene blends the realistic news reading setup with a futuristic, otherworldly atmosphere created by the glowing entities.

‘Re:collections’ (2021) by Yo-Yo Lin 林友友

Country: Taiwan

Language: English and Mandarin

Sensory note: appears to be sensory-friendly

Content note: mentions of surgery 

POSTPONED: Due to a scheduling adjustment, we had to postpone the screening of Yo Yo Lin's film ‘Re:collection’. Please stay tuned for future updates to experience this film.

Re:collections / 再次·回顧 is a personal recalling of chronic illness and diasporic identity. Filmed during a return to Taiwan from the US, Lin’s reflections and body become a time machine that travels through diffracted timelines. While connecting familial history, Taoist cosmology and Taiwanese culture, this experience redefine her relationship with illness, body and home. As the body wanders through seemingly ordinary affairs, the mind’s longing for an alternative universe captures the tension between traditional healing and the medical industrial complex.  The film is narrated in both English and Mandarin, and interweaves the mundane with the magical, offering openings for grief, wonder and radical multiplicity.

‘Anthem’ (1991) by Marlon Riggs, 9min

Country: USA

Language: English

Sensory note: Throughout the film flashing and fast-paced images also overlapping sounds at different frequencies

Marlon Riggs’ ‘Anthem’ is a bold and unapologetic search of the intersections of Black masculinity, queerness, and resistance in the face of systemic oppression. Riggs challenges the oppressive, reclaiming the eroticism and sensuality of African American men as acts of defiance against a society steeped in anti-Blackness and homophobia. Through a powerful blend of poetry, African rhythms, and provocative imagery, Riggs disrupts the cultural narratives that seek to silence and erase marginalised bodies.

We are deeply honoured to be able to screen this film and moved by how ‘Anthem’ resonates with the ongoing fight for bodily autonomy and the reclamation of identity in a world that often seeks to control and marginalise those who exist outside the norm. Riggs' own experience of living with HIV is woven into the fabric of the film, amplifying its message that resistance is not just about survival but about embracing and celebrating our full, authentic selves. ‘Anthem’ is not just a music video; it is a manifesto, proclaiming with every kiss and every beat that a new world is emerging, one where the oppressed reclaim their voices and bodies in the fight for freedom.

Image credit: Still from ‘Anthem’ (1991) by Marlon Riggs. Courtesy of the artist and Frameline. 

Image Description: A red-tinted close-up of two Black men sharing a passionate kiss, their faces tenderly pressed together, eyes closed as if savouring the moment. The warmth and intensity of their connection radiate through the frame, creating an intimate and emotional atmosphere. The bold, red hue adds a sense of depth and urgency to the scene, symbolising love, desire, and power. At the bottom of the image, in large, bold greyish capital letters, the word "ANTHEM" stands out prominently, as if declaring this moment an expression of pride, unity, and celebration. 

Donations

This programme is free to attend, but if possible for your, we would love If you could donate to Crips for eSims for Gaza

organised by Jane Shi, Leah Lakshmi Piepzna-Samarasinha and Alice Wong and Donation for Sudan

Artists bios

Bassam Issa Al-Sabah work aims to convey visions of war, resistance and perseverance. He utilises a multi-media installation comprising of video, painting, sculpture and printed matter. The work is concerned with how the past is continually revised to meet the present, when the juvenile fantasy breaks down into the reality of adulthood.

Maria Estela Paiso, born in Quezon City, the Philippines in 1997, they graduated with a degree in communication arts and has been in post-production since 2016. After several music videos and visual experiments, she made Ampangabagat Nin Talakba Ha Likol, her debut film as a director. In her free time, she works to perfect her karaoke skills.

Eternal Engine is the artistic duo of Jagoda Wójtowicz and Matrix Nawrot, two digital witches, cyber fairies of techno-culture, internet post art and new media artists, moving fluently into glitch, post-internet and cyber-feminist discourse. They create virtual reality and augmented reality applications, experimental forms of expression on the basis of intermedia art, music videos, spots and more, all in the digital medium to incorporate art and their visual creations into the layers of everyday life, deepening imagination, broadening thinking, surprising and educating.

Yo-Yo Lin 林友友 is a Taiwanese-American, interdisciplinary media artist who explores the possibilities of self-knowledge in the context of emerging, embodied technologies. She often uses video, animation, live performance, and lush sound design to create meditative ‘memoryscapes.’ Her recent body of work reveals and re-values the complex realities of living with chronic illness and intergenerational trauma.

Marlon Riggs (1957–1994) was a groundbreaking African American filmmaker, writer, and activist who transformed documentary filmmaking by addressing the intersections of race, sexuality, and identity. Riggs used his films, such as Ethnic Notions, Tongues Untied, Color Adjustment, and Black Is...Black Ain’t, to challenge stereotypes, expose injustices, and celebrate the diversity of Black life. His bold approach, particularly in Tongues Untied, brought the experiences of Black gay men to the forefront, sparking both critical acclaim and controversy. Despite being diagnosed with HIV in the late 1980s, Riggs continued creating powerful work until his death in 1994.