Three pairs of robots engage in dialogue. How does artificial intelligence see the world? How does it see itself? There is a hidden tenderness in their algorithmic musings – what seems to preoccupy the robots most is the definition of being human.
What can artificial intelligence teach us, perhaps about ourselves? 3 Dialogues About the Future shifts the focus and lets the robots do the talking, exploring their learning processes and how they understand and relate to humanity. But in the three pairs’ dialogues, behind algorithmic coldness, lies hidden warmth and tenderness. What does it mean to be human? What do humans look like? What values do they hold? For once, to be watched by artificial intelligence does not come with a sense of surveillance or danger, but, rather, it feels like a gesture of mutual affection. The future of technological progress is yet to unfold, but as scary as it can be, 3 Dialogues About the Future suggests that there is room for beauty. (Dora Leu, BIEFF 2022)
Alina Manolache is a Romanian filmmaker (b. 1990). Her practice stands at the intersection between documentary cinema, artistic research and education. Featured by Filmmaker Magazine as one of the top 5 female directors of IDFA 2020, Manolache is an alumna of Visions du Réel, IDFA, CPH:DOX, Jihlava and Dokufest. She has authored several shorts and one feature length documentary (Lost Kids On the Beach), as well as commissioned webdocs for VICE and The Guardian. Manolache holds a Bachelor’s in Photography & Video by the Bucharest University of Fine Arts and a Master’s in Society & Media Studies. She is a graduate of Archidoc, Aristoteles Workshop, Sarajevo Talent Campus and IDFAcademy.
Blurring the line between memory and imagination, the film tells the story of a girl and her father, who have embarked on a wintery voyage. As the girl loses her sight, she reminisces about a strange encounter with a baby flamingo, while her father questions her experience.
Two neo-peasants, digital avatars in the flesh, are put to work by a mini usb windmill in order to keep the village running. They imagine themselves alone and are surprised when their paths finally cross. Serendipity?
How would a found footage film look like if the footage were never found? This conceptual art experiment questions the very nature of cinema while serving as an ironic tribute to the found footage horror and its specific pop culture.
The choreography of simple, undulating gestures of a few pairs of hands goes through the blurry images of faulty technologies.
This video, both diaristic as well as essayistic, has to do with two tired women, mother and daughter, eating together after work. The manipulated images of monotonously picturesque landscapes interrupt the flow of the quotidian drama in the seasonal workers’ daily lives.