At his court-martial, an American Army officer renounces his country. For his punishment he is ordered to spend the rest of his life on a ship that sails all over the world, but he will never be allowed to set foot on his country's soil, nor come within sight of it, nor be allowed to know anything about the country.

What limits does Malena cross to get what she wants most? Malena is a 38 year old middle class doctor from Buenos Aires. One afternoon she receives the call from Doctor Costas, who informs her that she must travel immediately to the north of the country: the baby she was waiting for is about to be born. Unexpectedly Malena decides to embark on an uncertain journey, full of crossroads, facing all kinds of legal and moral obstacles that will make her constantly wondering how far she is ready to go.

A Sort of Homecoming tells the story of Amy, a New York news producer who thought she left her high school experiences long in the past. She unexpectedly returns to Louisiana at the request of her high school debate coach. Their strained reunion brings back memories of her tumultuous senior year of high school.

Valeriy Pecheykin's one-man theatrical piece explores and celebrates the life of Prince Vladimir Fyodorovich Odoyevsky, an aristocratic 19th-century Russian polyglot. Using inventive mechanical, musical, and acrobatic set devices, the play sketches out boundaries of Odoyevsky's eccentric character by imagining his pursuits across time and place.

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).

Woyzeck takes psychotropic drugs and punishes himself physically. He has no choice. It's his living. With what he earns selling his body and by working in a restaurant and in subway tunnels, he just about makes ends meet. Coming home to his wife Marie and his infant child, he’s an impotent wreck -- and definitely unable to afford the earrings he sees Marie wearing one day. She’s frustrated and the jewelry is a gift from the local pimp. Woyzeck wasn't supposed to find out. But he has. Plagued by voices, he loses his already weak grip on reality. He retreats into the tunnels with Marie and the baby. There Woyzeck is the master of life and death.

After his lover is killed in a jewelry store robbery, Jose romances cafe owner Ana, who's unaware he has other motivations.

Virtual reality creator Hiyu is facing kidney failure. His online friend Photographotter travels from New York City to Stockholm to be a live donor to Hiyu.

An early film by Geroge Lucas during his USC days. It depicts a race car driver trying to qualify for a race. He finishes the lap in 1 minute 42.08 seconds.