With the help of state of the art special effects, this National Geographic documentary attempts to recreate what civilization looked like during the first 8,000 years that human beings lived on Earth.

For the third and final contribution to Contour Biennale 8, inhabitants has commissioned Adam Khalil and Zack Khalil in order to host an urgent reflection on indigenous sovereignty, the undead violence of museum archives, and post-mortem justice. 　　Filmmakers Adam and Zack Khalil, in collaboration with artist Jackson Polys, investigate the recent court case that decided the fate of the remains of a prehistoric Paleoamerican man found in Kennewick, Washington State in 1996. The case pitted the Umatilla people and other tribes, who wanted to provide a burial to the “Ancient One”, against two scientists—one of which from the publicly-funded Smithsonian Institute—who wanted to study the “Kennewick Man”. In order for the claim to fall under the Native American Graves Protection and Repatriation Act (NAGPRA) it became necessary to establish the lineage of these remains. This fight unleashed a controversy with groups attempting to establish white ancestry, and with this seeking to altogether undermine the indigenous sovereignty over land and ancestors and annul centuries of colonial violence. The evolving science of DNA and cranial morphology was grotesquely called in to testify to the purity of the bones’ ethnicity, where native claims to embodied knowledge of its origin had little means of addressing the court. Despite all of this, the Umatilla people and other tribes ultimately repatriated the “Ancient One” and he was reburied earlier this year in 2017. 　　Bios: 　　Adam Khalil and Zack Khalil (Ojibway) are filmmakers and artists from Sault Ste. Marie, Michigan and currently based in Brooklyn, New York. Their work subverts traditional forms of ethnography through humor, transgression, and innovative documentary practice. Their films and installations have been exhibited at the Museum of Modern Art, Walker Arts Center, e-flux, UnionDocs, and Microscope Gallery. 　　Jackson Polys is an artist who lives and works between what is currently called Alaska and New York. His work reflects examinations into the limits and viability of desires for indigenous growth. He began carving with his father, Tlingit artist Nathan Jackson, in high school, has worked as an artist based in Alaska as Stron Softi, with solo exhibitions at the Alaska State Museum and the Anchorage Museum, and holds an MFA in Visual Arts from Columbia University’s School of the Arts (2015).

For the third and final contribution to Contour Biennale 8, inhabitants has commissioned Adam Khalil and Zack Khalil in order to host an urgent reflection on indigenous sovereignty, the undead violence of museum archives, and post-mortem justice. 　　Filmmakers Adam and Zack Khalil, in collaboration with artist Jackson Polys, investigate the recent court case that decided the fate of the remains of a prehistoric Paleoamerican man found in Kennewick, Washington State in 1996. The case pitted the Umatilla people and other tribes, who wanted to provide a burial to the “Ancient One”, against two scientists—one of which from the publicly-funded Smithsonian Institute—who wanted to study the “Kennewick Man”. In order for the claim to fall under the Native American Graves Protection and Repatriation Act (NAGPRA) it became necessary to establish the lineage of these remains. This fight unleashed a controversy with groups attempting to establish white ancestry, and with this seeking to altogether undermine the indigenous sovereignty over land and ancestors and annul centuries of colonial violence. The evolving science of DNA and cranial morphology was grotesquely called in to testify to the purity of the bones’ ethnicity, where native claims to embodied knowledge of its origin had little means of addressing the court. Despite all of this, the Umatilla people and other tribes ultimately repatriated the “Ancient One” and he was reburied earlier this year in 2017. 　　Bios: 　　Adam Khalil and Zack Khalil (Ojibway) are filmmakers and artists from Sault Ste. Marie, Michigan and currently based in Brooklyn, New York. Their work subverts traditional forms of ethnography through humor, transgression, and innovative documentary practice. Their films and installations have been exhibited at the Museum of Modern Art, Walker Arts Center, e-flux, UnionDocs, and Microscope Gallery. 　　Jackson Polys is an artist who lives and works between what is currently called Alaska and New York. His work reflects examinations into the limits and viability of desires for indigenous growth. He began carving with his father, Tlingit artist Nathan Jackson, in high school, has worked as an artist based in Alaska as Stron Softi, with solo exhibitions at the Alaska State Museum and the Anchorage Museum, and holds an MFA in Visual Arts from Columbia University’s School of the Arts (2015).

After a series of bad relationships, a man orders a mail order bride and receives more than he bargained for.

A Serbian ballroom dancer experiences an unexpected and intense 24-hour romance with a friend's older brother.

The versatile artist, BEK Hyunjin ventures into theater direction, leaving the actors in a state of confusion. His unconventional direction unfolds into strange scenes on stage. Scenes of people howling, a woman's monologue, another woman lip-syncing a song appear in random order, and BEK Hyunjin himself appears on stage as a primitive man, a singer and a narrator.

Theory of Obscurity tells the story of the renegade sound and video collective known as The Residents…a story that spans 40 years and is clouded in mystery. Many details surrounding the group are secret, including the identities of its members. They always perform wearing masks and costumes, which is part of their magic. At its heart, this story is about perseverance and chasing your dream. The Residents never caved to convention. They never compromised. They’ve followed their muse for decades and thousands of fans have hung on for the ride. Along the way they’ve also inspired many people to be weird, take chances and find their own voice.

Aurora Teagarden and her boyfriend Martin are thrilled when they get an unexpected visit from his niece and her new baby. Their excitement is short lived when his niece disappears and the baby is left behind. Once again, Aurora finds herself drawn into a deadly investigation as she risks it all to help Martin reunite with his family.

Aurora Teagarden and her boyfriend Martin are thrilled when they get an unexpected visit from his niece and her new baby. Their excitement is short lived when his niece disappears and the baby is left behind. Once again, Aurora finds herself drawn into a deadly investigation as she risks it all to help Martin reunite with his family.

Maura Mackenzie believes the world is hers to conquer. With her career as a concert pianist gaining momentum, it seems her beauty and talent will be strong enough to mask the demons that threaten to engulf her. But with an absent husband and two young daughters at home, her precarious sanity begins to unravel until one summer day, burning with manic energy, she makes a terrible mistake — a mistake that will change her life forever. The consequences for Maura are catastrophic: her ambitious husband runs for his life, taking the children with him, leaving Maura to lapse into a full-scale breakdown. Life as she knew it is now over. With the help of her father, Ian, Maura works to reclaim her life and waits for a miracle to bring her daughters home. But when the fates align, can the past be forgiven?