Currents
Currents Program 3: Surface Noise
Simon Liu, Jonathan Seungjoon Lee, Laura Kraning, Siegfried A. Fruhauf, Karissa Hahn, Cameron Worden
This program includes the world premiere of Simon Liu’s Procedures, Jonathan Seungjoon Lee’s Practice Towards Light, Laura Kraning’s Interwoven Intervals, Siegfried A. Fruhauf’s Flim Flam, the world premiere of Karissa Hahn’s Moored Shadow, and the world premiere of Cameron Worden’s Day One.
- Runtime
- 70 min
- Country
- Hong Kong/
U.S./ South Korea/ Austria - Language
- English
- Year
- 2026
- More information
- Official film page
Screenings
Procedures
Simon Liu, 2026, Hong Kong/U.S., 17m
World Premiere
Procedures
A chaotic tapestry of emblems and luminous portals guide us through the warped signage and smearing surfaces of Hong Kong in Simon Liu’s film, a densely layered reverie of civic spaces that appear to be dissolving into irreality. Exploding across uncanny mindscapes, Procedures explores the iridescent somewhere of a city as a labyrinth of gated geometries and stifled energies.
Practice Towards Light / 빛을 향한 수행
Jonathan Seungjoon Lee, 2026, South Korea, 12m
New York Premiere
Practice Towards Light. Photo by Jonathan Seungjoon Lee.
Working in collaboration with painter Huh Yun-hee, Jonathan Seungjoon Lee documents a year-long practice of filming the sunrise through multiple exposures on four 100-foot rolls of 16mm film, one for each season, with seven separate sunrise shoots layered onto each roll. In lush, dizzying compositions, sea and sunrise, paint and celluloid, line and color collide in thick, vertiginous superimpositions of lilac, gold, and aquamarine.
Interwoven Intervals
Laura Kraning, 2026, U.S., 6m
New York Premiere
Interwoven Intervals
Smudged grids and criss-crossing patterns, laser-printed on clear 16mm film leader, cascade in intricate moirés and stuttering geometries in Laura Kraning’s highly tactile film. Interwoven Intervals finds a new form between weaving, drawing, and cinema, intersecting graphic approaches to sound and film materials with the machinic manipulations of textile production, printing, and cinema.
Flim Flam
Siegfried A. Fruhauf, 2026, Austria, 15m
U.S. Premiere
Flim Flam. Courtesy of sixpackfilms.
Quivering punctuation, undulant zebras, and spiraling moirés compose Siegfried A. Fruhauf’s hallucinatory exploration of the eye’s grasp on reality. An avalanche of formal confrontations, illusory depths, and tonal contrasts (black-and-white, orange-and-green), Flim Flam at once expands the spectator’s cognitive capacities and returns the cinema to its origins as a child’s optical toy.
Moored Shadow
Karissa Hahn, 2026, U.S., 16mm, 4m
World Premiere
Moored Shadow. Courtesy of Karissa Hahn.
In Karissa Hahn’s enigmatic silent film, a series of dizzying whip-pans seems to reveal a sunlit woodland scene, which quickly dissolves into abstracted shapes, flickers of shadow and light, and curious traces of the natural and human-made. Deceptive in its simplicity, Moored Shadow constructs an impossible landscape from motion and monochrome.
Day One
Cameron Worden, 2026, U.S., 35mm, 16m
World Premiere
Day One
Shapes blister and tumble across frame lines, colors splash, bleed, and vanish, machinic noise rumbles and churns. Produced using an entirely photochemical process on 35mm film, with an optical soundtrack generated photochemically, Day One is an odyssey of light and color, an exploration of the primary materials of analog filmmaking, and a miniature cosmos activated inside the cinematic apparatus.
Procedures
Simon Liu, 2026, Hong Kong/U.S., 17m
World Premiere
Procedures
A chaotic tapestry of emblems and luminous portals guide us through the warped signage and smearing surfaces of Hong Kong in Simon Liu’s film, a densely layered reverie of civic spaces that appear to be dissolving into irreality. Exploding across uncanny mindscapes, Procedures explores the iridescent somewhere of a city as a labyrinth of gated geometries and stifled energies.
Practice Towards Light / 빛을 향한 수행
Jonathan Seungjoon Lee, 2026, South Korea, 12m
New York Premiere
Practice Towards Light. Photo by Jonathan Seungjoon Lee.
Working in collaboration with painter Huh Yun-hee, Jonathan Seungjoon Lee documents a year-long practice of filming the sunrise through multiple exposures on four 100-foot rolls of 16mm film, one for each season, with seven separate sunrise shoots layered onto each roll. In lush, dizzying compositions, sea and sunrise, paint and celluloid, line and color collide in thick, vertiginous superimpositions of lilac, gold, and aquamarine.
Interwoven Intervals
Laura Kraning, 2026, U.S., 6m
New York Premiere
Interwoven Intervals
Smudged grids and criss-crossing patterns, laser-printed on clear 16mm film leader, cascade in intricate moirés and stuttering geometries in Laura Kraning’s highly tactile film. Interwoven Intervals finds a new form between weaving, drawing, and cinema, intersecting graphic approaches to sound and film materials with the machinic manipulations of textile production, printing, and cinema.
Flim Flam
Siegfried A. Fruhauf, 2026, Austria, 15m
U.S. Premiere
Flim Flam. Courtesy of sixpackfilms.
Quivering punctuation, undulant zebras, and spiraling moirés compose Siegfried A. Fruhauf’s hallucinatory exploration of the eye’s grasp on reality. An avalanche of formal confrontations, illusory depths, and tonal contrasts (black-and-white, orange-and-green), Flim Flam at once expands the spectator’s cognitive capacities and returns the cinema to its origins as a child’s optical toy.
Moored Shadow
Karissa Hahn, 2026, U.S., 16mm, 4m
World Premiere
Moored Shadow. Courtesy of Karissa Hahn.
In Karissa Hahn’s enigmatic silent film, a series of dizzying whip-pans seems to reveal a sunlit woodland scene, which quickly dissolves into abstracted shapes, flickers of shadow and light, and curious traces of the natural and human-made. Deceptive in its simplicity, Moored Shadow constructs an impossible landscape from motion and monochrome.
Day One
Cameron Worden, 2026, U.S., 35mm, 16m
World Premiere
Day One
Shapes blister and tumble across frame lines, colors splash, bleed, and vanish, machinic noise rumbles and churns. Produced using an entirely photochemical process on 35mm film, with an optical soundtrack generated photochemically, Day One is an odyssey of light and color, an exploration of the primary materials of analog filmmaking, and a miniature cosmos activated inside the cinematic apparatus.