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Here is the ANIMASYROS 2023 Official Selection, including all films that will be screened at the competitive and non-competitive sections of the Festival.

The Official Selection includes 270 films in total from 53 countries! 

The screenings’ schedule will be announced in September. You can download and use the official selection laurels for your film here.

 More information/enquiries regarding the Official Selection, please contact: [email protected] 

Feature Film Competition Section

Aurora’s Sunrise (Inna Sahakyan, AM/ LT/DE/, 90’, 2022)
Four Souls of Coyote (Áron Gauder, HU, 103’, 2023)
Henry The Great (Jānis Cimmermanis. LV, 75’, 2023)
Mironins (Mikel Mas Bilbao & Txesco Montalt. ES/BE, 62’, 2021)
Nayola (José Miguel Ribeiro, PT/BE/FR/NL, 82’, 2022)
Perlimps (Alê Abreu, BR, 80’, 2022)
Sirocco and the Kingdom of the Winds (Benoît Chieux, BE/FR, 75’, 2023)
The Inventor (Jim Capobianco & Pierre-Luc Granjon, US/FR/IR, 92’, 2023)
The Other Shape (Diego Felipe Guzman, CO, 99’, 2022)Titina (Kajsa Næss, NO, 91’, 2022)
Unicorn Wars (Alberto Vázquez, ES/FR, 91’, 2022)

International Competition Section

27 (Flóra Anna Buda, FR/HU, 10’38”, 2023)
Airborne (Andrzej Jobczyk, PL, 7’36”, 2021)
An End To War Enough (Simone Massi, IT, 5’, 2022)
Antipolis (Kaspar Jancis, EE, 25’41”, 2023)
Box Cutters (Naomi Van Niekerk, FR, 8’24”, 2023)
Drijf (Levi Stoops, NL, 14’59”, 2023)
Eeva (Lucija Mrzljak & Morten Tšinakov, EE / HR, 15’58”, 2022)
Electra (Daria Kashcheeva, CZ/FR/SK, 26’33”, 2023)
Glenn, The Great Nature Lover (Anna Erlandsson, SI, 4’30”, 2023)
Harvey (Janice Nadeau, CA, 9’, 2023)
I’m Perfectly Fine (Dario Van Vree, NL, 30’06”, 2023)
Ice Merchants (João Gonzalez, PT, 14’, 2022)
I’m Hip (John Musker, US, 4’ 2023)
Love Me True (Inés Sedan, FR, 7’40”, 2023)
Marea (Giulia Martinelli, CH, 4’30”, 2022)
Miracasas (Raphaëlle Stolz, CH, 14’, 2022)
My Name Is Edgar And I Have A Cow (Filip Diviak, CZ, 7’47”, 2023)
My Year Of Dicks (Sara Gunnarsdóttir, US, 25’42”, 2022)
Nun Or Never! (Heta Jäälinoja, FI, 10’49”, 2023)
Our Uniform (Yegane Moghaddam, IR, 6’30”, 2023)
Pina (Jeremy Depuydt & Giuseppe Accardo, BE, 20’, 2022)
Ready (Eirini Vianelli, GR / BE, 11’, 2023)
Roped (Carmen Córdoba González, ES, 10’, 2022)
Telsche (Sophie Colfer & Ala Nunu, PL, 8’34”, 2023)
The Antiquary (Manuel Matos Barbosa, PT, 8’, 2022)
The Cactus (Ricardo Kump, BR, 10’25”, 2022)
The Distance Between The Staircase And The Sky (Katerina Athanasopoulou, GB, 7’, 2022)
The Garbage Man (Laura Gonçalves, PT, 12’, 2022)
Together, Body And Soul (Vasile Alboiu & Liviu Gabriel Dinu, RO, 10’47”, 2022)
Trace (Asparuh Petrov, BG, 7’, 2022)
Two Sisters (Anna Budanova, FR, 14’12”, 2021)
Visible Mending (Samantha Moore, GB, 8’30”, 2023)
Way Better (Skirmanta Jakaite, LT, 13’47”, 2022)
Yellow Light (Tal Kantor, IL, 2’, 2023)
IS, or: A beautiful, tiny, reddish hair, as thin as fiber (Kostas Bakouris, GR, 5’30”, 2023)

International Student Competition Section

a WORLD in CHAOS (David Crisp, HU, 9’45”, 2023)
Above the clouds (Vivien Hárshegyi, HU, 13’32”, 2022)
All my scars vanish in the wind (María Angélica Restrepo & Carlos David Velandia, CO, 14’18”, 2022)
Archang3l (Angelo Mastrolonardo & Lorenzo Cascini & Riccardo Grilli & Federico Starinieri, IT, 7’39”, 2023)
Artifacts Of You, Artifacts Of Me. (Brecht De Cock, BE, 9’, 2022)
Aurore (Sabrina Assous, FR, 5’10”, 2023)
Carp Xmass (Anna Heribanová, CZ, 7’58”, 2022)
Dead Red Kite (Finn Morgan-Roberts, GB, 4’, 2023)
Dodo (Yi Luo, DE, 12’36”, 2023)
Dog Ball Park (Renana Palmor, IL, 3’33”, 2022)
Friendly Fire (Tom Koryto Blumen, IL, 6’20”, 2022)
Half Empty (Katarzyna Orłowska, PL, 4’52”, 2022)
Holes (Sofiya Kruglikova, SI, 6’35”, 2022)
Hope (Kanto Randresy & Oualid Laouer & Lucie Jean & Maxime Pitrou & Henry Mbouem Mbeck, FR, 7’39”, 2022)
Jamais vu (Katerina Constantinou & Maria Panayi & Eleftheria Papadopoulou, CY, 3’, 2023)
Kolaj (Gülce Besen Dilek , TR, 8’35”, 2022)
La Notte (Martina Generali & Simone Pratola & FRsca Sofia Rosso, IT, 6’30”, 2023)
Midnight Hotel (Vincent Albert & Neïl Dieu & Malo Doucet & May Taraud & Marie Toury, FR, 4’41”, 2022)
Oliver, the Giant (Júlia Lantos, HU, 8’14”, 2022)
Other People (Anni Sairio & Joonatan Turkki, FI, 7’51”, 2023)
Patopistou! (Célia Sebbane, FR, 6’20”, 2022)
Poor Antonio (Mariana Ferreira & Eudald Rojas, ES, 8’, 2022)
Rising Above (Natálie Natálie, CZ, 4’12”, 2023)
The Harbourmaster (Mia Ludvigsen Henriksen & Konrad Hjemli, NO,  7’17”, 2022)
The Juggler’s Guide (Rebeka Kruus, EE, 3’26”, 2023)
The Old Man And The Sea (Eylül Yarkin, TR, 2’56”, 2022)
The Tornado Outside (Maria Tomazou, GB, 8’15”, 2023)
Town Hall Square (Christian Kaufmann, DE, 8’35”, 2023)
Under The Endless Sky (Alexandra Dzhiganskaya, AT, 4’, 2022)
Whatman (Nika Zinoveva, CZ, 8’03”, 2023)

TV & Commissioned Films Competition Section

All the best (Pablo Rafael Roldán, AR, 3’37”, 2023)
Artur y Dropsik (Me lo PuedoQuedar?) (Maria Rosario Carlino & Matias Ferreyra, AR, 5’07”, 2023)
Boys Boys Boys – Tristan (Valentine Vendroux & Clawdia Prolongeau & Marie Villetelle & Seham Boutata & Pawel Thomas Larue, FR,  5’, 2023)
Children of Metroid (Tamás Rebák, HU,  2’06”, 2022)
Fail in Love – A Chair for Two (Cécile Rousset & Romain Blanc-Tailleur, FR,  4’17”, 2022)
Fortune Favours The Brave (Babis Alexiadis, GB, 4’37”, 2022)
Freaked Out’ Train Brain (Theo Grosjean, FR,  2’, 2022)
Friends of Music Society (70 years anniversary) (George Kontos, GR,  1’10”, 2023)
Gegone, inside the Museum – Chloe (Joan Zhonga & Fokion Xenos, GR,  5’30”, 2022)
Gegone, inside the Museum – Eyfyros (Joan Zhonga, GR,  4’50”, 2022)
Gegone, inside the Museum – Kore (Joan Zhonga, GR,  5’30”, 2022)
Greek Spirits by Tsipourman (Manos Gerogiannis & Yannis Zoumakis & Tsipourman, GR,  0’40”, 2021)
I Inside the Old I Dying (Joaquín Cociña & Cristobal León, CL,  3’10”, 2023)
It’s all about You – Surfer (Irida Zhonga, GR,  0’37”, 2022)
Love You Terribly (Charlie Mars, FR,  3’54”, 2023)
Météores (Agnès Patron & Morgane Le Péchon, FR,  4’30”, 2023)
My Dear Mr. Whitman (Jeremiah Dickey, US, 1’43”, 2022)
Park Voyage Florence (Yuk Ki Lee, HK, 3’13”, 2022)
Pebble Hill (Marjolaine Perreten, CH, 29’, 2023)
Potato Falls (Janina Putzker, DE, 1’, 2022)
Siren Song (Dimitris Armenakis, US, 3’31”, 2023)
SNFCC Xmas22 – Xmas Giants (Yannis Zoumakis & Manos Gerogiannis, GR, 0’36”, 2022)
Strange Town (Poli Xeni) (Eftychia Maria Kondyli, GR, 3’22”, 2023)
Sunflowers – A Strange Feeling of Existential Angst (Carolina Bonzinho & Leander Meresaar, PT, 4’, 2023)
The Life of David Walker (Tomás Pichardo, US, 5’16”, 2023)
The True Price of Your Couch (Machteld Rijnten, LT, 2’34”, 2023)
Tufo (Victoria Musci, IT, 26’, 2023)

K.ID.S Competition Section

A Tiny Voyage (Emily Worms, FR, 7’45”, 2022)
Cool For You (Sherene Strausberg, US, 3’, 2022)
Corvine (Sean McCarron, CA, 10’30”, 2022)
Desert Critter (Lina Walde, DE, 8’, 2023)
Flutter (Adam Reed Levy, US, 5’46”, 2023)
Foxtale (Alexandra Allen, PT, 5’55”, 2022)
Go Away, Alfred! (Célia Tisserant & Arnaud Demuynck, FR, 11’, 2023)
Hooba (Sem Assink, NL, 2’15”, 2022)
Hypno Tidoo (Arianna Gheller & Matteo Burani, IT, 1’59”, 2021)
Jules & Juliette (Chantal Peten, BE, 7’05”, 2022)
Lights (Jitka Nemikinsová, CZ, 8’26”, 2023)
Little Fan (Sveta Yuferova & Shad Lee Bradbury, DE, 5’, 2023)
Lullaby Aquarium (Ana María Mendicote Brañas & Queralt de Miguel Rosique, ES, 4’, 2022)
META (no VO) (Antje Heyn, DE, 3’36”, 2022)
Musical Socks (Ana Horvat, HR, 10’34”, 2023)
Prinzessin Aubergine (Dina Velikovskaya, DE, 7’37”, 2022)
Something Black (Reyhane Kavosh, IR, 7’08”, 2022)
Ten Small Crabs (Panagiotis Tsimpiridis, GR, 2’50”, 2023)
The Asia Minor Catastrophe (George Chatzivasileiou, GR, 9’44”, 2022)
The First Dinosaurs Were Apples (Emma Lafarge, FR, 3’22”, 2023)
The Goose (Jan Mika, CZ, 12’33”, 2022)
The Swineherd (Magnus Igland Møller & Peter Smith, DK, 6’34”, 2023)
To Be Sisters (Anne-Sophie Gousset & Clément Céard, FR, 7’20”, 2022)
Trails Of The Morning (Maša Avramović, FR, 3’, 2021)
Upside Down (Dace Rīdūze, LV, 12’, 2023)

Animapride Competition Section

12 Views of the Dome (Anna Maria Leventi, GR, 6’40”, 2023)
Accompanied (Liam Laurenti, FR, 3’38”, 2023)
Aikane (Daniel Sousa & Dean Hamer & Joe Wilson, US, 13’54”, 2023)
Boundless (David Chai, US, 9’37”, 2022)
Brewberry Spell (Annika Nimz, DE, 9’37”, 2023)
Coming In (Louis Devignes & Alice Florent & Romane Etienne & Camille Devise & Killian Maret, FR, 4’08”, 2022)
Coming Out Autistic (Steven Fraser, GB, 3’55”, 2022)
Confusion Of The Afternoon (Yung-Chieh Lee, TW, 2’50”, 2023)
In Boxes (Hila Vakrat & Gilad Pfeffer, IL, 6’22”, 2022)
Maurice’s Bar (Tom Prezman & Tzor Edery, FR/IL, 15’, 2023)
Mortal Flame (Rin Yu, TW, 5’56”, 2023)
Night Out (Helena Coelho & Rebeca Nigri, BR, 2’10”, 2022)
Olive and Otis (James Leong Holston, US, 5’30”, 2022)
Pipes (Kilian Feusi & Jessica Meier & Sujanth Ravichandran, CH, 4’03”, 2022)
Pussy Love (Linda Krauss, DE, 4’, 2023)
Strass (Julián Lassa Ortíz, AR, 7’38”, 2023)
The Girl Behind the Mirror (Iuri Moreno, BR, 12’05”, 2021)
The Secret Lives of Lesbians Cats (Kate Jessop, GB, 1’38”, 2023)
The Sketch (Tomas Cali, FR, 9’20”, 2023)
Travessia (Ariely Suptitz, BR, 1’44”, 2022)
Twin Flames (Spyros Argyris Soukeras, GR, 4’38”, 2022)
Wa Iza? (Ali Halawi, DE, 3’45”, 2022)

Greek Competition Section

Akiko (Costantine Venetopoulos, GR, 9’16”, 2022)
Cat Postale (Zacharias Mavroeidis, GR, 9’, 2022)
Claw Machine (Georges Salameh, GR, 13’48”, 2023)
Eau En Noir (Vanessa Ferle, GR, 6’05”, 2023)
Forma (Marios Mitrakis, GR, 7’49”, 2023)
Fuga (Antonis Doussias, GR, 10’, 2023)
Kafka’s Collection Of Porn (Aristotelis Maragkos, GR, 6’17”, 2022)
Lafcadio Hearn, Life As A Fairytale (Afroditi Mpitzouni, GR, 4’35”, 2023)
Moon Landing With A Twist (Simos Tokalakis, GR, 3’29”, 2023)
Our Road (Valasia Dodulu, GR, 4’05”, 2023)
Pavlos Pavlidis & Dimitris Samolis’ Megas Raftis (Thomas Kunstler, GR, 3’46”, 2023)
Reborn (Dimitrios Sakkas, GR, 2’14”, 2023)
Tales (Daphne Vasiliki Thermidi, GR, 15’, 2022)
The Other Side (Tina Mamali, GR, 4’34”, 2021)
Valia Calda (Ilias Avramidis, GR, 8’34”, 2023)
Watering Hole (Foivos Chalkiopoulos, GR, 7’06”, 2023)

#ThisIsEU – European Values Competition Section

Cold Soup (Marta Monteiro, PT, 9’50”, 2023)
Maurice’s Bar (Tom Prezman & Tzor Edery, FR/IL, 15’, 2023)
My Name Is Edgar And I Have A Cow (Filip Diviak, , CZ, 7’47”, 2023)
Fashion Victims 2.0 (María Lorenzo, ES, 2’10”, 2023)
Matthew (Trine Vallevik Håbjørg, NO, 9’47”, 2023)
PLSTC (Laen Sanches, FR, 1’37”, 2022)

11 (Vuk Jevremovic, HR, 5’28”, 2022)
A Kind Of Testament (Stephen Vuillemin, FR, 16’24”, 2023)
Balcony Cacophony (Quentin Haberham, NL, 5’, 2023)
Caramelle (Matteo Panebarco, IT, 12’21”, 2022)
Don’t Die On Me (Ori Goldberg, IL, 3’, 2022)
Extraordinary Tales from Town of Mindcery (Veronika Trokšiarová & Zlata Golecová, SK, 10’, 2022)
Greylands (Charlotte Waltert & Alvaro Schoeck, CH, 11’36”, 2023)
Hadis (Nazrin Aghamaliyeva, AZ, 9’19”, 2023)
Her Dress For The Final (Martina Mestrovic, HR, 8’45”, 2023)
In Labour (Tamara Alajlouney, JO, 3’25”, 2023)
In The Heat (Sam Chou, CA, 17’30”, 2023)
Matthew (Trine Vallevik Håbjørg, NO, 9’47”, 2023)
Pisces (Lee Dror, IL, 12’08”, 2023)
Pour Generation (Patrick Smith, US, 3’41”, 2022)
Remember How I Used to Ride a White Horse (Ivana Bosnjak Volda & Thomas Johnson Volda, HR, 9’57”, 2022)
The Eastern Rain (Milly Yencken, EE, 9’07”, 2023)
The Foam And The Lion (Cláudio Jordão, PT, 18’30”, 2022)
The Grand Book (Arjan Brentjes, NL, 19’59”, 2023)
The Illuminer (Lachezar Avramov Velinov, BG, 7’, 2023)
Tomato Kitchen (Junyi Xiao, CN, 8’42”, 2022)
Unfound (Shahar Balfour, IL, 7’47”, 2022)
Well Wishes My Love, Your Love (Gabriel Gabriel Garble, MY, 9’06”, 2022)
What’s Bugging You? (Paulina Ziolkowska, PL, 6’19”, 2023)

Animation & Ancient Greece Tribute

A Day In The Life Of An Ancient Athenian (Michael Kalopaidis, US, 5’, 2018)
Amathus (Lydia Mastrangelo, US, 3’34”, 2023)
Apodemy (Katerina Athanasopoulou, GR, 5’, 2012)
Argo e Odi (Luca Di Cecca, IT, 5’, 2023)
Argonautica (Katerina Athanasopoulou, GR, 4’, 2003)
Argonuts (David Alaux & Eric Tosti & Jean-François Tosti, FR, 96’, 2022)
Ariadne (Danay Gijzen, CH, 3’14, 2022)
From Troy With Love (Yotam Galpaz, IL, 6’13”, 2021)
Greek Order (Stavros Papastavrou, GR, 0’21”, 2023)
Hercules (Ron Clements & John Musker, US, 93’, 1997)
Minotaur (Daniel Souza, US, 8’, 1999)
Mythology (Stavros Papastavrou, GR, 0’16”, 2023)
Mythopolis (Alexandra Hetmerova, CZ, 12’, 2013)
Syrinx (Mallory Grolleau, FR, 8’39”, 2022)
Theseus (Michaela Steigerová, CZ, 1’58”, 2022)
To Be Artemis (Nene Lonergan, IR, 2’16”, 2023)
What did democracy really mean in Athens? (Jeremiah Dickey, US, 5’, 2015)

La Animaciόn Iberoamericana Tribute

In collaboration with Animac Festival and Instituto Cervantes

Decorado (Alberto Vázquez, ES, 11’, 2016)
Simbiosis Carnal (Rocío Álvarez Varela, BE, 10’, 2017)
Tío (Juan José Medina, MX, 12’, 2021)
Carne (Camila Káter, ES, 12’, 2019)
Bestia (Hugo Covarrubias, CL, 15’, 2021)
Proceso De Selección (Carla Pereira, ES, 3’, 2020)
Loop (Pablo Polledri, AR, 7’, 2021)
Valentina (Chelo Loureiro, ES, 66’, 2021)

In collaboration with Cinanima Festival, the Embassy of Portugal in Greece & Instituto Camões

The Peculiar Crime of Oddball Mr. Jay (Bruno Caetano, PT, 11’, 2019)
The Girl Who Stood Still (Joana Toste, PT, 9’, 2021)
Octopus (Catarina Sobral, PT, 9’, 2022)
Nestor (João Gonzalez, PT/GB, 6’, 2019)
Pink Jacket (Mónica Santos, PT/FR, 8’, 2022)
Garrano (Vasco Sá & David Doutel, PT/LT, 14’, 2022)

Curated by ANIMASYROS Festival

Acayaca Diamonds (Fernanda Roque Prata Fernandes & Francisco Nora Franco, BR, 4’, 2023)
At The Edge Of The Water (Tamara Kupfer Muñoz,UY, 5’44”, 2023)
Cadim (Luiza Pugliesi Villaça, BR, 6’, 2022)
Carlos Montaña (Ita Romero, AR, 7’51”, 2022)
Dennis (Guillermo Garzón & Carlos Beceiro, ES, 3’, 2021)
Eclipse (Constanza Hernández, CL, 2’43”, 2022)
Fashion Victims 2.0 (María Lorenzo, ES, 2’10”, 2023)
Hold On (Gabriel Bermudez, CR, 2’24”, 2023)
Holy Shadow (Patricio Plaza & Paula Boffo, AR, 2’, 2023)
La Calesita (Augusto Schillaci, AR, 9’37”, 2022)
Luthier (Carlos González Penagos, CO, 12’30”, 2023)
Mao Lucky (Luis Carlos Caballero Arguelles, PA, 4’, 2022)
Myson Has A Dinosaur (Alfredo Salomón, MX, 5’, 2021)
Nosh-Up (Mafalda Salgueiro, PT, 12’, 2022)
Nyanga (Medhin Tewolde Serrano, MX, 20’, 2023)
Stigma (Aida Argüelles, ES, 6’58”, 2023)
Teofila Palafox, Pioneer Of Community Cinema (Kotik Villela, MX, 1’03”, 2022)
The Boy Who Portrayed Monsters (Víctor Izquierdo &  Pablo Sánchez, ES, 8’, 2023)
The Flight Of The Manta Rays (Bruno Carnide, PT, 7’, 2021)
The Glazier’s Daughter (Lucía López, AR, 1’52”, 2022)
The Machine And The Melody (Juan Antonio Limo Giribaldi & Manuel-Antonio Monteagudo, PE, 7’26”, 2022)
The Old Hag And The Crow (María Lucía Bayardo, MX, 5’55”, 2023)
The Thunder (Isabel Titiro, AR, 4’, 2022)
Will Fly (Ronny A. A. Sosa, DO, 10’30”, 2023)
Wind Whisperer (Fernanda Caicedo, EC, 6’30”, 2022)

Tribute Polish School of Animation: Male Eye, Female Heart

In collaboration with Etiuda & Anima Festival

Mały czarny kwadrat/Little Black Square (Tomasz Siwiński, PL, 6’, 2007)
Laska / Chick (Michał Socha, PL, 5’, 2008)
Ex Animo (Wojciech Wojtkowski, PL, 7’, 2013)
Łaźnia / Baths (Tomek Ducki, PL, 4’, 2013)
Ziegenort (Tomasz Popakul, PL, 19’, 2013)
Hipopotamy / Hippos (Piotr Dumała, PL, 12’, 2014)
Lato 2014 / Summer 2014 (Wojciech Sobczyk, PL, 12’, 2014)
Łowy / The Hunt (Mateusz Jarmulski, PL, 8’, 2018)
Refreny/ Refrains (Wiola Sowa, PL, 13’, 2007)
Ab Ovo (Anita Kwiatkowska-Naqvi, PL, 5’, 2012)
Nieprawdopodobnie elastyczny człowiek/The Incredibly Elastic Man (Karolina Specht, PL, 5’, 2013)
Cipka / Pussy (Renata Gąsiorowska, PL, 8’, 2016)
III (Marta Pajek, PL, 12’, 2018)
Jestem tutaj / I’m Here ( Julia Orlik, PL, 15’, 2020)
Ciałość / Lushfilness (Weronika Szyma, PL, 6’, 2020)
98 kg (Izabela Plucińska, PL, 5’, 2021)
3 geNARRACJE /3 geNARRATIONS (Paulina Ziółkowska, PL, 9’, 2021)

K.ID.S (Out of Competition)

Elizabethan Theatre (Chrysoula Nikolopoulou , 6th Intercultural Primary School of Eleftherio-Kordelio GR, 6’58’, 2023)
The Sirens still singing (Ageliki Karadima, Eleftheria Dalla, Dimitra Vallianou, Konstantina Tabouradji, Artemis Griva, Matina Venetiadou, Irini Kanellopoloulou, Danae Arianoutsou, Despina Astraki, Marianthi Tsironi, Tatiana Gotski, Athens High School of Arts, GR, 11’11”, 2022)
The forgotten gifts of Santa Claus (Natassa Noutsi, GR, 3’13’’)
Fish It! (Chryssa Voudouri & Athens School of Fine Arts, GR, 3’04’’,2022)
The Speech of Txai Surui (Students of the Multimedia Project of Escola Parque, BR, 4’00’’, 2022) 
Moon Mole (Alunos do 12º ano, Laura Gonçalves (Orientação), Alexandra Ramires (Orientação), Leonor Pacheco (Orientação), Dimitri Mihajlovic (Orientação), PT, 2’30’’, 2022)
Space Debris (Despina Armenaki, 3rd Primary School of Chios, GR, 3’02’’, 2023) 
No, you! – Animating Guernica (Yanis Alexakis, GR, 2’00’’, 2022)

AKTO Art & Design Animation & Interactive Media & Game Design Course

Τhe Present (Ash Peppas, Despina Gianni, 1’46’’, 2023)
Τime Over (Dimitris Bilias, 1’09’’, 2023)
Τoys (Nikos Mihiotis, 28’’, 2023)
Try your lack (Mike Despotopoulos, 1’ 09’’, 2023)
The Best Elf (Vilia Papagiannopoulou, 20’’, 2023)
Last Christmas for Elaia (Eleutheria Goutzikidou, 28’’. 2023)
The Gataway Pawn (Chrisanthi Zoannou, 19’’, 2023)
Astronaut (Vassilis Tzimas, 10’, 2023’)
I don’t Bite! (Hanna Olsen, 1’45’’, 2023)
Promotion Day (Katerina Kapagiannidi, 1’04’’, 2023)
Ticket making of (Dimitris Rousetos Prousalis, 1’ 40’’, 2023)
Α Friend in Need (Chrysoula Kakavikou, 1’22’’, 2023)
Active _Program: Mother (Dimitris Rousetos Prousalis, 2’ 42’’, 2023)
Perspective (Steven Yousif, 1’59’’, 2023)
Reflexion (Alexandros Kouris, 2’01’’, 2023)

Prices of home-grown vegetables like ridge gourd, bitter gourd, green chilli, long beans and beans have finally started cooling with the restoration o

Strawberry Banana Cream Pie
1/2 mug granulated sugar
2 tbsps corn starch
1/4 tsp salt
4 egg yolks
2 mugs milk
1 1/2 tsps vanilla remove
1 pint fresh strawberries, cut
1 baked 9-inch pie covering
1 big or 2 little bananas
Whipped lotion (optional).

In medium-size pan, integrate salt, corn starch as well as sugar.

Mix tiny quantity of milk mix right into completely dry active ingredients, making a smooth paste. Progressively mix in staying milk combination. Prepare over tool warm, mixing frequently, till mix thickens as well as boils.

Establish apart regarding 1/4 mug strawberry pieces for garnish. Prepare continuing to be strawberry pieces in pie covering. Put fifty percent of the custard mix over strawberries.

Prior to offering, leading pie with scheduled strawberry pieces. Garnish with a glob of whipped lotion, if preferred.

Establish apart concerning 1/4 mug strawberry pieces for garnish. Organize continuing to be strawberry pieces in pie covering. Peel as well as piece bananas. Put fifty percent of the custard blend over strawberries. Leading with banana pieces.

What would happen if Vesuvius Volcano erupted today? It’s erupted many times in the past. In fact, that’s how it got its shape. It’s made of multiple layers of hardened lava, pumice, and ash. Vesuvius last erupted in 1944. But a major blast happened there nearly 2,000 years ago. It buried the Roman towns of Pompeii and Herculaneum and decimated the surrounding areas.

The tragic eruption have left a deep mark in modern history. Mount Vesuvius is regarded as one of the deadliest volcanos in the human history. But today, 3 million people live less than 20 milesfrom the volcano, and 600,000 live in the danger zone. Large eruptions happen every few thousand years, usually after long periods of calm. And the trouble is, Vesuvius is long overdue for its next one…

#brightside

TIMESTAMPS:
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DAY 4 2:13
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DAY 7 4:02
DAY 10 4:44
DAY 16 5:05
10 years later 8:19
100 years later 8:43

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The fall lineup for the 2023 Chicago Humanities Festival is here, but before you poke around its ambitious sprawl of 50-something events, spread over two months (Sept. 17 to Nov. 15), before you eye-pop at Millie Bobby Brown (Sept. 17) or plan autumn weekends around the relentless ignorance of our politicians (Andy Borowitz, Oct. 28) and the history of sketch comedy (Keegan-Michael Key and wife Elle Key, Oct. 5), consider the stresses of piecing together such a festival:

There’s the artist who requires 30 minutes of complete silence before stepping on stage. The coastal agents who just do not think of Chicago as a “viable market” for their clients. The nationally-renowned scholar who doesn’t see the point of adding a Chicago academic to a panel discussion. There’s the audiences who will not venture north of Madison. Or drive south of Roosevelt. You are a Midwestern organization with a roughly $4 million annual budget, but you are still a nonprofit and some of those big names you want to book insist on quite the entourages. Also, actors, being on strike at the moment, will not discuss on stage, you know, the things we know them from. Should you worry that Trump-centric comedian Sarah Cooper (Oct. 14) is scheduled so close to Fox News’s Bret Baier (Oct. 14)? Will they run into one other? You want a smart festival addressing social issues of the day — this year, it’s the rise of AI and the impact of climate change — but you might need to land the Fonz (Henry Winkler, Nov. 4) to help subsidize a panel on the links between Chicago public art and environmental justice (Oct. 14).

You thought planning a dinner party was hard?

Thurston Moore in conversation during the Great Escape Festival at Old Market on May 11, 2019 in Brighton, England. (Tabatha Fireman/Getty)

Try planning one that lasts 60 days and seats Sonic Youth’s noise merchant Thurston Moore (Nov. 1) and provocative essayist Roxanne Gay (Nov. 5) alongside a fair number of elderly attendees. The Chicago Humanities Festival was initially a one-day fall thing. It’s now in its 34th year and, at its most sprawling, once offered about 130 events a year. These days, the festival is year-round and puts on roughly 100 events. Like other cultural institutions, it’s also smaller. Attendance is about 50,000, closer to its post-COVID 2019 number, said Phillip Bahar, executive director. But like other cultural groups reliant on constituencies, membership (its key financial support) has fallen — Bahar expects membership to be 35% lower than pre-COVID’s 2,500 members.

The good news is, that the audience is younger than a decade ago, when the festival’s membership rolls, like other Chicago theater companies and musical arts organizations, looked overly gray.

Lauren M. Pacheco, Phillip Bahar and Michael Green of the Chicago Humanities Festival in 2022. (David Kindler / HANDOUT)

If Lauren Pacheco has her way, that change will continue.

“If we’re feeling different this year, if we’re visibly looking different, that’s because we are moving in a different direction,” said Pacheco, now in her second year as co-creative director with Michael Green. “Michael and I have a vision and we’re still getting to know each other and find our alignments, and like other cultural organizations, we recognize a need to cultivate a younger audience, and a more diverse audience, and also addressing the relevant issues. What does that mean in the long haul here? I think it means we’re going to be a bit playful — experimental.”

And, for lack of a better word, more Chicago.

First lady M.K. Pritzker greets lawmakers before Gov. J.B. Pritzker delivered his annual budget address to a joint session of the General Assembly on Feb. 15, 2023 at the Illinois State Capitol. (Brian Cassella / Chicago Tribune)

Variety-wise, this year’s festival resembles past festivals. You get A-list cultural voices: Bob Odenkirk and daughter Erin discussing their new book (Oct. 14); a tribute to Philip Glass (Nov. 5); author Zadie Smith (Sept. 19); poet Tracy K. Smith (Nov. 5). And a handful of A-list political names: Rachel Maddow (Oct. 19), former Illinois congressman Adam Kinzinger interviewed by journalist (and Chicago native) Jonathan Alter (Nov. 5). Plenty of national thought leaders: Matthew Desmond on poverty (Oct. 14); Walter Isaacson on Elon Musk (Oct. 14); Naomi Klein on our online hall of mirrors (Sept. 19); David Brooks on the importance of being seen (Nov. 5). And one or two left field surprises: Controversial Harvard physicist Avi Loeb on the existence of aliens (Nov. 5); Illinois first lady MK Pritzker on renovating the Governor’s Mansion (Oct. 14).

There are deep-dive chats on AI: AI and creativity (Oct. 28), AI and criminal justice (Nov. 5). And climate change — climate change and morality (Oct. 21), climate change and Chicago (Nov. 5).

But then, there’s Sebastian Hidalgo (Oct. 28), the native Pilsen photographer who made a name depicting the effects of gentrification; Chicago chef Rick Bayless (with San Francisco chef Anna Voloshyna) on Ukrainian food (Oct. 14); Chicago fashion designer Chelsey Carter (Oct. 28); South Side police shootings and the making of film that uses police bodycam footage (Nov. 5).

“We want to bring the best scholars from across the country,” Pacheco said, “but at the same time we are in this amazing city and we need to figure out how to better leverage what it offers.”

One way to do this, said co-creative director Green, is put more attention on live performance and experiential events — such as Chicago-based Fulcrum Point New Music Project performing minimalist composer Le Monte Young (Nov. 16). “That, alongside the Philip Glass event, for instance, you get kind of this miniseries of informal learning on minimalism.”

About a year and a half ago, Green and Pacheco replaced Alison Cuddy as creative director. Green was a public events programmer at the Museum of Contemporary Art and veteran of the education department at the Art Institute of Chicago; Pacheco was a longtime arts administrator and grassroots organizer, at, among other places, Indiana University and University of Chicago.

A couple of autumns later, the Humanities Festival will still unfold in the usual places — the Loop, Hyde Park, Evanston. But Green and Pacheco plan to expand it routinely into far more places around the city. Last spring, for instance, they programmed a day of events at the Epiphany Center for the Arts on the West Side that included acclaimed authors Brandon Taylor and Aleksandar Hemon. Pacheco, citing census data and the growth of Latino populations across Chicago, is now eyeing events on the Far Southwest Side as well as “nontraditional venues” around Little Village and outdoors. Her dream, she said, would be a Humanities Festival at Guaranteed Rate Field, playing a broader audience. “One day, if we keep this excitement going, I hope, you’ll see a few low riders pulling up to something at the Chicago Humanities Festival.”

The Chicago Humanities Festival’s Fall Festival runs Sept. 17 to Nov. 15 at various venues; for schedule and more information at www.chicagohumanities.org

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By Jim Calfa: The manager for WBA light heavyweight champion Dmitry Bivol, Vadim Kornilov, reports that he’s having difficulty finding an opponent to fight in his next title defense.

Staying at 175 is a dead-end road for Bivol because there’s literally no one for him to fight, and if he stays there, he’ll finish out his career facing no names in low-level contests that don’t interest boxing fans.

Moving down to 168 would seem to be the best option for Bivol (21-0, 11 KOs) to make money and have more opportunities for compelling fights at 175.

If Bivol moves down in weight to 168, he would have these options available to him:

While some of those fighters would swerve Bivol, most probably Canelo, but not all of them, Bivol is now popular enough for guys like Plant, Morrell, Pacheco, and Andrade to fight him. Benavidez would likely avoid fighting Bivol, as he didn’t seem eager when Morrell called him out.

Bivol had hoped to face IBF, WBC & WBO light heavyweight champion Artur Beterbiev for the undisputed championship. Beterbiev’s promoter isn’t interested, and the World Boxing Council won’t sanction it while the Russian invasion of Ukraine continues. Who knows how long that war could last?

175-lb contender Dan Azeez & Joshua Buatsi has shown no interest in fighting Bivol, and Canelo Alvarez, unsurprisingly, has passed on the option of a rematch. He obviously knows he has no chance of avenging his loss to Bivol after the way he was dominated a year ago.

If Bivol could beat one of these champions, he would instantly become one of the biggest names in boxing.

Bivol will likely be slightly weaker at 168 than he was at 175, but with his technical ability, he has enough talent to make up for that and dominate.

Getting a high rank and forcing a title shot at 168 against Canelo should be an easy thing for Bivol. It doesn’t matter if Canelo is unwilling to fight Bivol. If he becomes his mandatory, he’ll get a title shot, as long as he doesn’t go the WBC route.

As we’ve seen with Benavidez, it doesn’t help if you’re Canelo’s WBC mandatory. You’re still not going to get a title shot. Bivol would have to become Canelo’s mandatory for his IBF, WBA & WBO belts because those sanctioning bodies would enforce it.

If Bivol stays at 175, the best he can hope for are fights against these guys:

Discover Qualities For Web Design Services

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Such a company shows a profile of previous jobs on its web site. Look for the logo designs on their internet site.

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The 6-foot-1 Pacheco average 3.5 points and five rebounds per game last season with the Knights.

The skin, as an external organ, protects the entire body against harmful external factors. One of these factors is ultraviolet (UV) radiation, which in excessive amounts can lead to premature skin aging, DNA damage, and even skin cancer. Therefore, it is worth supporting skin protection not only with commercially available preparations, but also with a proper diet. Consuming certain vegetables and applying them topically may reduce the effects of UV radiation. The aim of the review was to collect information on the effects of vegetables and their compounds on the skin when used externally or included in the diet. This review summarizes studies on vegetables, such as broccoli, cucumber, kale, tomato, and carrot, which have shown significant activity in skin photoprotection. Additionally, it outlines the bioactive substances present in these vegetables and their effects.

Unbreakable Spirit: The Extraordinary Life of Ana Pacheco

Introduction

Ana Pacheco, an extraordinary individual whose unbreakable spirit has inspired countless individuals around the world, is a true testament to the power of resilience and determination. Born on May 15, 1968, in a small village in Portugal, Ana’s journey from humble beginnings to becoming a prominent advocate for women’s rights and social justice is nothing short of remarkable. This comprehensive biography will delve deep into Ana’s life, exploring her early years, her struggles and triumphs, and the lasting impact she has had on society.

Chapter 1: Early Years

Ana Pacheco spent her formative years in a modest farming community nestled amidst the picturesque landscapes of Portugal. Growing up as the youngest of six siblings in a close-knit family, Ana was instilled with strong values of compassion, hard work, and empathy from an early age. Her parents’ unwavering support and encouragement laid the foundation for her future achievements.

Despite facing financial hardships that plagued their community, Ana’s parents prioritized education for their children. As a result, Ana attended the local school where she excelled academically and demonstrated exceptional leadership skills. Her insatiable curiosity led her to explore diverse subjects beyond what was taught in classrooms.

Chapter 2: Education and Career

Driven by an insatiable thirst for knowledge and a desire to make a difference in the world around her, Ana pursued higher education against all odds. She secured a scholarship to study sociology at one of Portugal’s prestigious universities – Instituto Superior de Ciências Sociais e Políticas (ISCSP). During her time at ISCSP, Ana developed a deep passion for understanding societal structures and inequalities.

Upon completing her bachelor’s degree with honors, Ana faced limited opportunities within Portugal due to prevailing gender biases that restricted women from occupying certain roles. Undeterred by these obstacles, she decided to pursue a master’s degree in gender studies at the renowned London School of Economics and Political Science (LSE).

Chapter 3: Advocacy for Women’s Rights

Ana’s time at LSE proved to be transformative, solidifying her commitment to empowering women and fighting for their rights. She immersed herself in feminist theory and engaged with prominent scholars in the field. Ana’s master’s thesis on the intersectionality of gender and race became a groundbreaking piece of research that challenged prevailing narratives.

Armed with newfound knowledge and an unbreakable spirit, Ana returned to Portugal determined to dismantle systemic barriers hindering women’s progress. She spearheaded various initiatives aimed at raising awareness about gender-based discrimination and advocating for equal opportunities. Her efforts led to the establishment of several organizations that continue to champion women’s rights today.

Chapter 4: Breaking Barriers

Ana Pacheco’s unwavering determination did not stop at advocating for women’s rights. Recognizing the importance of intersectionality, she expanded her focus to address issues faced by marginalized communities such as racial minorities, LGBTQ+ individuals, and immigrants. Ana firmly believed that true progress could only be achieved by dismantling all forms of oppression.

Her tireless efforts garnered attention both nationally and internationally, propelling her into the limelight as a respected voice in social justice advocacy. Ana was invited to speak at conferences, contribute to academic journals, and participate in high-level policy discussions on matters ranging from education reform to combating systemic racism.

Chapter 5: Global Impact

Ana Pacheco’s remarkable journey transcended borders as she took her advocacy work beyond Portugal. Recognizing that social injustices were not confined within national boundaries, she embarked on numerous international endeavors aimed at fostering global solidarity and cooperation.

Ana collaborated with various international organizations such as the United Nations Entity for Gender Equality and Empowerment of Women (UN Women) and Amnesty International. Through these partnerships, she contributed to the development of policies that promoted gender equality, combated human trafficking, and protected the rights of marginalized communities worldwide.

Chapter 6: Legacy and Continued Influence

Throughout her life, Ana Pacheco’s unbreakable spirit served as an inspiration to countless individuals. Her unwavering commitment to social justice, gender equality, and human rights has left an indelible mark on society.

Ana’s legacy lives on through the organizations she founded and the countless lives she touched. Her tireless work continues to inspire new generations of activists who strive for a more just and equitable world. From grassroots initiatives to international policy changes, Ana’s impact reverberates in every corner where her message of empowerment resonates.

Conclusion

Unbreakable Spirit: The Extraordinary Life of Ana Pacheco takes readers on a captivating journey through the life of a remarkable woman who defied all odds to make a lasting impact on society. From humble beginnings in a small Portuguese village to becoming a globally recognized advocate for women’s rights and social justice, Ana Pacheco’s story is one that will undoubtedly inspire generations to come. Her unbreakable spirit serves as a reminder that resilience, determination, and compassion can change the world.