WHITENESS is a 105-minute multi-form cinematic work premiering at Raindance Film Festival 2026. Conceived by Alessio Cappelletti, the film fuses narrative fiction, archival propaganda, animation, satire, and Southern Gothic horror into a single destabilised structure.
Rather than telling a unified story, it unfolds as four formal collisions—each revealing how images construct, distort, and reassemble historical truth.
From upper-class satire (And That’s That), to WWII propaganda (Teamwork), to banned racist animation (Scrub Me Mama With a Boogie Beat), and culminating in Southern Gothic horror (Wretched Earth), the film traces how ideology survives through repetition, aesthetic framing, and cultural memory.
Ambitious, fractured, and deliberately unstable, WHITENESS rejects narrative closure in favour of structural tension, positioning itself as one of the most formally radical selections at Raindance 2026.
andreas rød
Body Utopia isn’t really about fashion, darling—it simply borrows its wardrobe. It’s about the deliciously awkward collision between aspiration and reality, where immaculate tailoring meets the stubborn fact of having a body. In an age obsessed with optimisation, filters and the next upgrade, Andreas Rød reminds us of something rather unfashionable: we’re all gloriously, inconveniently human. His photographs are impossibly composed yet quietly subversive—equal parts razor-sharp and deeply felt. No gimmicks, no performative cleverness, just beautifully crafted images that linger long after you’ve left the gallery. Quite simply, it’s less about escape and more about coming back to ourselves. Rather marvellous, really.
MAI: The New Face of Scandinavian Cool ★★★★★★★★★☆ (9/10)
Forget the clichéd Scandi aesthetic of beige cashmere and designer bicycles. DJ Mai Schaarup represents the Denmark tourists rarely see—disciplined, emotionally restrained, fiercely creative and quietly rebellious. From Copenhagen’s underground clubs to solitary studio sessions, she proves that true Nordic cool isn’t performed. It’s simply lived. A sharp portrait of the modern Scandinavian heroine, where fashion, music and authenticity meet without ever asking for attention.
A practice where anatomy is not metaphor but material, and mortality is neither abstracted nor softened for comfort—Morten Viskum arrives with work that refuses the decorative instincts of contemporary culture.
At the exhibition, where concept too often floats free of consequence, his work anchors itself in the uneasy weight of what remains: bodies, memory, and the ethics of looking. Neither provocation for spectacle nor irony for distance, it is a sustained confrontation with presence itself—what it means to see, to remember, and to accept the material reality of life once it is no longer lived.
THE VILLAGE EFFECT
What happens when two young creatives arrive in New York with one suitcase, a camera, and no intention of behaving like tourists?
Everyone tells you to visit New York. Almost nobody tells you how to read it.
Over one unforgettable summer, a young photographer and creative producer wander between the East Village and West Village, discovering a city where every block feels like a film set, every stranger has a story, and fashion becomes the language of survival.
This isn’t another New York guide. It’s a stylish portrait of downtown through photography, fashion and cultural curiosity—where artists, musicians, hidden bars and legendary vintage stores collide with the effortless glamour of Manhattan.
Sharp, witty and visually driven, The Village Effect explores why New York remains the world’s greatest muse—and why the best thing you’ll ever bring home isn’t a souvenir, but a new way of seeing.
Fashion. Photography. New York. One unforgettable summer.
James Lazar Braathen represents a rare position in contemporary Nordic fashion: emotionally maximal, structurally controlled, and deliberately unbothered by Scandinavian branding expectations.
In conversation, he rejects fixed identity in favour of “daydreamed” construction, framing fashion as obsession-driven authorship rather than product design. His silhouettes combine disciplined sensuality with historical romanticism, while his references move between Oslo’s architectural fragments and cinematic European nostalgia.
The result is a designer operating in tension—between elegance and excess, feminism and fantasy, control and creative possession. Not Scandinavian minimalism. Something sharper, stranger, and far less obedient
Arthur Sopin & Andreas Rod’s No, It Is Not; Not Always (DT500mag, London) is a sharp post-conceptual rupture disguised as an exhibition — where portraiture, performance, and moving image collapse into controlled instability. Born from a 150+ artist open call, it reframes eccentricity as structure, not exception, and turns identity into a flickering system rather than a fixed subject. Positioned between Venice Biennale discourse and post-internet fatigue, it doesn’t explain the contemporary condition — it destabilises it, elegantly and without apology.
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Frédéric Chaubin doesn’t photograph buildings—he photographs the dreams they were built to contain. Between forgotten monuments, cinematic landscapes and the poetry of concrete, the French image-maker reveals why architecture remains one of fashion’s most enduring sources of fantasy.
In Oslo, words rarely stay still. They drift through conversations in hotel lounges, echo across studio floors, and dissolve into the city’s informal rhythm of cafés, apartments and late-night exchanges. It is within this restless linguistic atmosphere that the practice of Unni Askeland takes shape—less as a fixed position than as an ongoing dialogue with the city itself.
Her presence within Norwegian contemporary culture has long been defined by this interplay between speech, image and persona. In Askeland’s orbit, language becomes performative material: sharp, improvisational, and often deliberately unpolished, reflecting a broader Oslo sensibility where art is inseparable from lived social intensity.
To speak of her work, then, is to speak of Oslo as much as of painting.
Hilde Marstrander has spent decades moving between fashion, media and cultural commentary—shaping taste as much as reporting on it. From London runways to Nordic editorial power desks, she has helped define how Scandinavia sees itself through style, debate and image. Now, her perspective turns back on a rapidly shifting fashion landscape where authority is fragmented, and visibility is everything.
” I DDD er alles mening viktig enten du er “rookie” eller “O.G” (Original Gangster). Det er en av de tingene jeg setter mest pris på i DDD, men det er til gjengjeld ganske krevende, kanskje spesielt for en “nykomling”. Men øvelse gjør mester, og å bli utfordret på disse tingene hver dag samtidig som man får observere andre med erfaring jobbe så fokusert, er utrolig god trening.”
A modest Norwegian upbringing, a Bowie-sized ambition, and a refusal to separate music from fashion, image from sound, or idea from execution. Under the name Suprastate, Thomas builds a self-contained creative system where noise, tailoring, and pop instinct collide into one continuous aesthetic engine. At a moment when culture is drowning in unfinished ideas, he insists on the opposite: everything must be made, fully, or not at all.
“RIV AV DEG ARMANI-DRESSEN OG DRA DEG UT PÅ GATA! ”
” JEG OPPLEVDE Å REISE GJENNOM TID OG ROM OG HADDE EN INTENS OPPLEVELSE AV AT DENNE KROPPEN, DETTE MENNESKET SOM HET LILLI OG HADDE SIN HISTORIE SOM HADDE FORMET HENNE SOM PERSON, BARE VAR EN BITTE LITEN DEL AV HVEM HUN EGENTLIG VAR..”
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