From the first camera to 45 billion cameras worldwide today, the visual sociologist filmmakers widen their lens to expose both humanity's unique obsession with the camera's image and the social consequences that lay ahead.

Fantastic Machine

A group of old friends reunite for an evening. Something ugly is bubbling up to the surface.

The Discomfort Has to Be Compensated

In the Swedish general elections of 2014, the Sweden Democrats (far-right) became the Riksdag's third largest party.  By tradition - and through a formal vote - the chamber honors the largest parties by awarding them the Speaker and three Deputy Speaker posts.  Filmed in the Swedish parliament, “Second Deputy Speaker” gives a critical study of politics and symbols of resistance in parliamentary procedures.

Second Deputy Speaker

A weak woman in the role of a victim; a rough, brutal man who carries out orders of gruesome murders; a hoarse mafioso; car chases. Pictures and events few have seen in real life but which everyone knows from the world of film. In 2012 the filmmaker Maximilen Van Aertryck was invited to make a film about the feature film Salvo. Extra Material follows recording sessions with the critically acclaimed Italian mafia film, which won awards in Cannes in 2013.

Extra Material

Shot live in the studio during the evening broadcast on Swedish public television, the film shows the news like you've never seen them before.

Because the World Never Stops

10 Meter Tower is a short film taking place in a swimming pool with 6 cameras aimed at the tallest diving tower. All focus is on the 43 people between 9 and 78 years old. They have one thing in common, this is the first time in their lives they climb up to the platform to make the decision whether to jump or not. The situation itself highlights a dilemma: to weigh the instinctive fear of taking the step out against the humiliation of having to climb down.

Ten Meter Tower

A highly choreographed review of the Industrial Age as we know it today – an intense and playful roller coaster ride that demands the viewer confronts how “work works.” Culled entirely from archival footage, the film unfolds in the filmmakers’ trademark, and humorously critical, cinematic voices.