Boris Seewald is a Berlin-based video director whose work approaches moving image as a form of visual choreography, arranging images rhythmically in dialogue with music and sound. Drawn to experimental and unconventional approaches, he combines abstract animation, mixed media, and live-action footage, developing films shaped by a strong post-production sensibility. Following a decade working in post-production as an editor and animator, his multidisciplinary practice reflects a director’s perspective rooted in editing and image manipulation.

Honoured with awards including the Cinedans Dioraphte Jury Award and a Promax Gold Award, and nominated for the Deutsche Kamerapreis, Seewald has developed a body of films recognised for their visual precision and musicality. He has collaborated with musicians such as Ralf Hildenbeutel, Francesco Tristano, Sebastian Plano, Alica Sara Ott, and Nemanja Radulovic, and worked with institutions and brands including Adobe, Deutsche Grammophon, Universal Music, Warner Music, Konzerthaus Berlin, Berliner Philharmoniker, Staatsoper Unter den Linden, Opéra National de Paris, Berlinische Galerie, and Arte, among others.

Forside's practice explores the "Digital Sublime" through speculative botanical forms that exist beyond natural ecology. Rather than representing nature, she constructs environments where organic logic remains but biological function has ceased: what appears as flora is not alive, not growing, and not decaying, but a residual structure suspended in continuous presence. Her ongoing series Digital Sublime Flora investigates how form, rhythm, and sensation persist after systems of life collapse, using generative processes and computational motion to build digital organisms that reject narrative progression, with no blooming, no climax, and no resolution.

Her aesthetic language draws from scientific imaging, archival systems, and the visual logic of digital simulation, with translucent membranes and particle-based surfaces recalling biological detail while revealing their artificial construction. Video plays a central role: time is used not to advance a story but to hold a condition, letting the work function as an immersive spatial field suited to large-scale screens. At its core, the series asks how we perceive sublimity in an era where digital systems increasingly mediate our experience of the organic world. Her piece Digital Sublime Flora: Frozen Bloom II was featured in the Moving Image category of the Digital Art Awards.

Guillaume Marical is a graphic designer, illustrator, and motion designer based in Lyon. His practice originates in gouache on canvas, from which he carries a lasting taste for texture, transparency, and the unexpected. The discovery of Procreate on iPad gradually opened up a new space for experimentation: the painted image becomes movement, transforms, and builds short narratives.

His films often take shape over a few evenings, sparked by a lingering impression: a piece of music heard, a film watched, an artist's world, or an image that stayed with him. Drawn to Japanese animation, particularly the world of Ghibli, animated stories of living things, nature, and childhood, he composes worlds where time slows down, where scale falls out of joint, and where the absurd becomes a gentle way of looking at reality. His daughter and son remain recurring characters in his scenes, and a source of inspiration from everyday life.