Like the director's other films, this one was also created during the filming of an event in public space, specifically capturing fragments of the celebrations of the anniversary of the Czechoslovak Velvet Revolution.

The director alternates surreptitious recordings of the lives of the wealthiest, including meetings on yachts with whirlpools and sipping champagne at luxury parties, with a recording of his own artistic performance, in which a handful of individuals rule the world.

In the dismal post-apocalyptic landscape of the coal basin in the northern part of the Czech Republic, through an artistically conceived film, we learn about an environmental movement whose motto is „change the system, not the climate“.

The film consists of four chapters, each of which is a critical commentary on the contemporary city. Problems which the creator usually shows in his art/ activist projects in public space are this time captured in more poetic, abstract and personal form...

Alana Victoria Hunt is a curator in Aboriginal community art center. White employees work with Aboriginal artists who tell the history of the Aboriginal nation Giya through art. Their works are painted with natural paints extracted from the soil.

Vladimír Turner’s video balances on the line between abstract and concrete depiction, or rather blends the two. The whole film consists of a single time-lapse scene flowing through time and landscape. In the final part of the video, the images very much remind of the inkblots of the Rorschach test.

Their aim was to contribute to discussion about media manipulation, hence the entire action was called “The Media Reality”. However in the end, it touched upon many other topics. Regardless of the action’s point, the artists were labeled dangerous hackers and digital pirates. The debate about media (in)dependence swiftly turned into a hoax accusation.