From surveillance and operating systems to moral and legislative ones, the six films in PARANOID POWER look at the dynamics and mechanisms of power, as well as at the malleability of justice — whether we are talking about the distant past of the 19th century, the recent past of Ba'athist dictatorships and Burmese military juntas, a present marked by the constant acceleration of oppression, or a probable future dominated by digital entities. In CITIZEN-INMATE and A METAMORPHOSIS, the directors reappropriate and repoliticise images of the masses and mass culture, with the former speculating on the Big Brother quality of the digital surveillance of former prisoners in Iran, and the latter re-enacting television images in theatrical and abstract pastiches. In LOYNES and EMPTY RIDER, we stand witness to two absurd trials, one of a defendant as much nameless as dead, and the other of an autonomous car with a troubled conscience (or is it?). In ANOTHER OTHER, images from popular films are deconstructed and confronted with a disjointed sound that examines systemic denial and racism in America, while in THE MOTHERFUCKER'S BIRTHDAY, the so-called poor-image vulgarity of pixelated videos is surpassed only by the opulent vulgarity of the celebrations dedicated to Saddam Hussein. To paraphrase famed prophet of The Matrix, Morpheus, the power is all around us. Even now, in this very room. (Dora Leu)