年青錄像藝術家艾蒂安．米雪以錄像及電影為創作媒介。她那些看似簡單的作品其實在景色及光線的處理均有極細膩的描寫。她的作品似乎脫離了所有當代藝術的潮流，但卻非常獨特及富創意。 〝在森林的一個晚上。貓頭鷹、雪貂、狐貍 …… 野獸如常的活動受一些光線的影響而變得混亂起來：原來森林來了一班人類。他們坐在一幅巨大的白布幕前靜待光線回復昏暗，野獸的影子在幕後再度活動 …… 〞 2007 年瑞士巴塞當代藝術節的開幕當天，一班應邀出席的觀眾在埃蒂安．米雪的帶領下，以手提電筒引路往森林去。他們坐在森林間的空地，欣賞投射在布幕上的電影。由於觀眾置身在拍攝的森林地點，當電影播放的同時，在布幕上及布幕下的環境，均有著一種真實性的延續。觀眾享受電影的同時，卻身處電影的一部份，達至戲中戲，置身於一個使人感到不安，有如〝鏡像迷宮〞的境界中。 埃蒂安．米雪的作品細膩感人，但同時又帶有毀滅性和令人著迷，原因是它推翻了我們對世界的認知。正如她拍攝一些馬匹（《馬兒的夢》）因為外來因素的介入而突然顯得焦躁不安，她將馬兒的恐懼滲入我們的血液之中，我們因為面對不熟悉和不能形容的境況也處於戒備的狀態之中。 同樣，她的《雨後》帶我們進入一處荒涼和惡劣的環境中，在那兒，除了一隻流浪的狼狗外再沒留下任何生命的跡象。艾蒂安．米雪利用一些外表看來樸實無華，但對光線、景色和明顯停滯不前的時間有細膩的描寫的影像來表達一種劇烈的孤獨和悲傷感覺。她透過一次在滿目瘡痍的景色中的漫遊來建立一些世界末日的徵兆。這些影象有點兒像拉封丹的寓言般帶著夢幻的感覺。 她以動物作拍攝主題並不是要講述動物的故事，而是要讓我們意識到另一個世界的存在。《 Les yeux ronds 》是她最精彩的錄像裝置作品之一，她將這錄像影片投映到巴黎 Jeu de Paume 藝術館外牆的一幅大型屏幕上，在繁忙時間駕車前往 Place de la Concorde 的人正面對著一隻正在眨眼的貓頭鷹。影片同時也會以反方向的角度放映，即貓頭鷹眼中看到的景物。 埃蒂安．米雪以更極端的手法創作《人在陸地》。在這部紀錄片中，她導演的身份完全消失，影片予人的印象是植物、石頭和大地正在觀察從遠方來的人類： 〝在地球最遠處的冰海上，一艘船緩緩泊岸。陌生的身影漸漸出現，人類正式踏足這片荒涼的土地。影片從不變的大自然出發，在格林蘭島的土地上，每片冰塊，石頭及動物見證著一群科學家在夏天登陸島上，並對他們作探索研究。影片讓觀眾經歷一個重要的旅程：化身成荒島上的目擊者，以第三者的角度，去觀察人類在土地上的各項活動；讓人目睹一場大自然所經歷的夢。〞 她成功地抹去了我們對人類時間的認知，把我們投入某種沒有界限的無盡空間內，我們置身其中，僅僅看見自己在無盡的時空中飄過天際。埃蒂安．米雪的作品迷人之處除了影像十分優美之外，而在聲音方面，她並不需要文字來表達，也能將聲音的力量發揮得淋漓盡致。

Watchmaker stumbles into a mysterious cinema and is enraptured by the sight of movie star Lisa sleeping on the screen. His life changes. A girl he meets in the cinema begins leading him through the strange world of cinematic dreams.

Back in 2016, a scientific advisor gets hit by the full farce of the government she's trying to help. Shot and edited remotely during lockdown, an all-star cast brilliantly bring to life the story of a disease expert who is wading through the treacle of government bureaucracy. Can she persuade the powers-that-be that we actually do need experts? And that ignoring the science can have deadly, global consequences...

Oregon, 1982. Four teens suspect that a mysterious upcoming screening at their local cinema is the finale of the Star Wars trilogy, only to discover something far more sinister is taking place.

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Cousin Ben hosts a screening of Wes Anderson's Moonrise Kingdom to the troops.

The premiere of the first three episodes of Studio Trigger's Netflix anime. a fantasy adventure following knight Laios and his party, who, after losing their supplies and having a member eaten by a red dragon, must return immediately to save her. Broke and hungry, they survive by venturing deeper into the dungeon and eating its monsters, guided by a dwarf expert named Senshi.

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An edited version of the first two episodes of The Lord of the Rings: The Rings of Power, shown exclusively to fans in cinemas around the world in August 2022. In a time of relative peace, an ensemble cast of characters confronts the re-emergence of evil to Middle-earth.

Footage from rare guerilla recordings of Q&As of IT IS NOT THE HOMOSEXUAL WHO IS PERVERSE, BUT THE SOCIETY IN WHICH HE LIVES following the film’s debut as part of MoMA’s Cineprobe program, and another downtown theater. Shoddily assembled from segments of handheld 16mm footage and roughly synchronized with a reel-to-reel audio recording, the footage features the audience haranguing Praunheim about the possible effects of the film on the perception of the queer liberation movement, both in New York (just a year or so after Stonewall) and internationally. Although the film’s reception may strike us as trite today, it’s a vital document of the trends in activism of the era, as well as MoMA’s role in fostering debate. – Museum of Modern Art