Grandfather in his last days was asking Grandma (Bebo)- "to whom you will stay, when I pass away?" Grandma (Bebo) stayed with grandson named simillarly as grandfather.

"The Green Chair" is a film by Andriana Theochari and Anna Katrine Tan. The film explores the contrast between the simultaneous overdevelopment of cities and the right to "sit" which symbolizes the right to take time to reflect on what is happening. Highlighting a kind of public furniture, a chair becomes a medium between fast and slow processes in our lives.

The film is about the lacking soul of Baku. The bright and beautiful capital is lovely for many and is the center of entertainment, beauty, tourism, trade, and culture. On the other hand, many people have a “boundary” between the beauty of these things due to poverty, mental health, or bad memories with the city. Baku has its part as well. The rapidly growing city has almost no soul left. The town's history is wiped off due to the construction of new sites and fancy buildings to attract tourists and guests and turn it into a business/entertainment hub in the South Caucasus.

A man wakes up and finds himself on a bed in the sea ...

Holding Space explores the lived experiences of Burmese immigrants in Singapore under the gaze of neighbours in public flats. With a focus on spatial arrangements and housing exteriors, the experimental film challenges the ways architects visualise and instrumentality their ways of seeing, seeking to hold space for subjective experiences and the subtle yet persistent influences on our domestic interiors.

‘Terrain Vague’ is a term for spaces that have been unintentionally transformed as the result of design and planning action. The short film reveals the qualities of a Terrain Vague and its users in Versailles in an urgent but poetic tone, inspired by the work of Jem Cohen. ‘Terrain Vague’ is an ode to urban margins everywhere that highlights the shelter these places offer to people that find themselves, either through choice or misfortune, outside of the norms society. The explored terrain in the film is the indirect consequence of planning regulations related to the nearby Palace and Gardens of Versailles. Large parts of the urban fabric of the relatively small town of Versailles cannot be significantly altered due to the UNESCO heritage status of the Palace and Gardens. The development and use of these heritage sites are under strict control as a way to manage, preserve and propagate narratives in the collective memory. The static character of the heritage site has led to the developing of a modern margin to host activities, people and developments that are deemed not fitting within the cultural narrative. As such the Terrain Vague provides space for the people and functions that do not comply with the aesthetic and societal standards of heritage preservation.

An exploration of a public space on Copenhagen's waterfront where the architectural structure, and access to the water, provide an open space to play, contemplate and just be. The film was produced during the CAFx Film & Architecture Workshop in Copenhagen: Leave No One Behind.

A wall is a significant architectural gesture. There is an indication of an inside and an outside. An indication of power and a historical significance. It is the material consequence of an abstract line that was drawn. In urban contexts historical walls stand in space and time, serving as reminders of what once was and yet still partially is. “In Rome […] people live more in streets than at home” (Pasolini). The Aurelian wall, perforated and surrounded by the streets of Rome, inhabited by humans and time, appears as dynamic and vital, meandering and static all at the same time. But what might be perceived as a seclusive body of mass and a symbol of the remains is in fact, when distinguishing between living on the street and in the street, a body who offers itself as home for those without one. The scenes of the walls exhibit the rejection and invitation, dwelling and deserting. The theater of the street would not be the same without its walls.

The short centers around the people using the recycling center. When I accidentally stepped into this place, I was surprised by the scenery, because in Japan(where I can from), it is not normal for people to go to a recycling center. We put our boxes in the street, and the garbage truck will pick it up. In the dump station that I went to, of course there were carpenters and gardeners, but there were also many normal people. And I think if you are Danish, I imagine that it would be a norm from a young age to go to these recycling place. In a span of four days of filming, I asked 12 people how they felt about the place. Though there were few who felt negativity in the place, everyone agreed that it is good to dump the garbage by themselves because it is good for the environment, and that it is normal to do that. As I was shooting the film, I realized that “normality” was the key word for this short. Normality is dangerous because my normal is not your normal, and the perception of one’s normality can exclude people that is not within that normality. The short has a very positive atmosphere, but at the same time, it is important to note that that positivity could “leave someone behind”. Please enjoy.