It isn't for nothing that activism made its way out of the shower and on to the streets of the most shower-crowded city in the world: Seattle. It isn't an accident that open source used the shower as a metaphor for software development, the same gesture that Hitchcock used to contract his critique of American life. Killed in the shower is evidently not innocent, but put on to that how the shower as a production of flow speaks about pre ’68 abundant capitalism, that Reyner Banham praised the shower as the epitome of throw away aesthetics, and later how Steven King over Brian De Palma in Carrie (’76) appropriated the shower scene from Psycho but transformed into a critique of the global highway.

International Festival brings stop-motion to post-production, turns around in an attempt to bring the shower out of the firm grip of metaphors and follie avant-garde exoticism. International Festival just wants to have a shower, to enjoy a piece full space emptied of metaphor and religious connotations.

International Festival want to wash of post-production and get down to business, clean as babies, souped-up like a politicians mouth, singing like Shaggy in a Dove commercial, doing the whale-trick, playing like sharks and maybe even offer a tiny bit of erotics.