WE ARE ALL MESSENGERS

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WE ARE ALL MESSENGERS •

For Science New Wave Members

Bring your science to the screen. Explore our Production Services.

Check out the wide array of open calls from monthly issues to festival submissions to workshops to residencies et al.

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Labocine Monthly Issues

Open Call for our Monthly Issues

FRUITOPIA - July 2025 Issue - Open Call

Deadline: June 20, 2025

A sensorial dive into the strange science and cinema of fruit. From forbidden gardens to fermented futures, this avant-garde harvest peels back layers of biology, myth, and memory. Welcome to FRUITOPIA—where fruit is more than food. It's memory, mutation, and meaning.

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Submit your work:
→ Submit a film via our Film Submission Portal
→ Submit a scene via our Scene Submission Portal

Submission deadlines typically close approximately 10 days prior to the end of each month

If you're not yet a Labocine member, you'll need to sign up with your email to submit work. This allows us to ensure visibility and connection within our community of curators, contributors, and audiences.

Any questions about submissions, reach out to sciencenewwwave@labocine.com

About Our Monthly Issues

Each month, Labocine curates a thematic issue, showcasing a selection of films and scenes that interpret a specific concept, form, or subject matter. From documentary to fiction to experimental to lab footage, we welcome works in all shapes and sizes. Our curations are diverse experimental, and cross-disciplinary—intended to offer a deep dive into a theme from many vantage points.

We invite you to submit your work—whether a fully formed film or a more exploratory scene.

How We Define Moving Image Works on Labocine

  • Films are edited and compiled works with credits—intended as standalone pieces.

  • Scenes are more free-form moving image works. These might include raw lab footage, data visualizations, field recordings, or installations. Scenes are often minimally edited beyond the camera settings used.

We encourage you to define your own boundaries between “film” and “scene.” Our categories are fluid by design.

Submission Process

  1. Submit your work via the appropriate (Film | Scene) portal mentioned above. Be sure to note in the comments section of your submission that you'd like your piece to be considered for a monthly issue.

  2. You’ll receive an email confirmation upon submission.

  3. If your work is selected, we’ll request a downloadable video file for archiving and presentation.

  4. If you’ve opted in to Labocine PRO (recommended), your work may also be considered for expanded programming and distribution opportunities. You can opt in or out of PRO anytime by going to: Your Lab > Film > Edit Notes.

  5. Our programming team reviews submissions within 1–3 days. The full review process takes approximately 3–5 days.

All submissions—whether selected for the issue or not—receive a dedicated film page on Labocine, ensuring they’re considered in future programs throughout the year.

Become a Science New Wave Member

To be eligible for programming review, you must be a Science New Wave Member on Labocine. Learn about the benefits of joining the Science New Wave community.

Wondering if you are Science New Wave Member? Check your Account profile—you’ll see a DNA/genetic sequence (12 letters made up of DNA’s four chemical bases—A, T, C, and G—also known as nucleotides or base pairs) next to your name if you are.

We also invite you to join HABITAT—our public-facing networking tool for scientists, artists, and educators—by completing your profile bio to gain visibility and connect with the wider Science New Wave ecosystem.

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Alexis Gambis Alexis Gambis

Submit to SNW Festival

18th Annual Science New Wave Festival

Regular Deadline: June 15

SUBMISION NOW OPEN VIA FILMFREEWAY / Next (Regular Deadline) : June 15 — Submission Close on August 15, 2025

Each October, the Science New Wave presents a slate of visionary films from around the world that push the boundaries of scientific storytelling. Celebrating its 18th edition, this annual festival will be held from October 17-19 in New York and on the Labocine platform, uniting filmmakers, scientists, and audiences in a vibrant celebration of the convergence of science and cinema. Check out Past Editions of the Science New Wave Festival.

Science New Wave submissions open each January and close at the end of August. Our lineup is unveiled in September.

All film entries are automatically granted a film page on our LABOCINE platform, ensuring future consideration in our year-round programming, regardless of selection outcome. As part of the submission process, we invite everyone to join HABITAT—a networking and ecosystem tool on LABOCINE designed for scientists, artists, and educators. To join, visit labocine.com/habitat.

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Alexis Gambis Alexis Gambis

Make a Labocine Original

Be part of the science cinema experiment.

Labocine occasionally runs open calls for original works—projects created specifically in response to initiatives we launch. Scenes from the Forest, Bodies of Water, Museum Portraits and soon-to-be announced short animated interpretations of molecular worlds. Each call comes with its own set of protocols, creative constraints, and thematic challenges designed to spark experimentation and push the boundaries of science storytelling.

Explore our current Labocine Originals Open Calls:

Labocine doesn’t just showcase visual works—we also help create them. We make occasional outreaches for original works that blur the boundaries between science and cinema. We welcome bold, hybrid visions—whether poetic, experimental, or documentary—that explore the scientific imagination.

If you're part of a research lab, collective, or institution and would like Labocine to come to you, get in touch. While we don’t produce promotional content, we’re excited to join as creative producers on projects that challenge conventions and open new narrative possibilities. To learn more about our own projects, visit Labocine Originals. If you’d like to submit work for our own programming, check out our Monthly Issue Open Call.

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Submit your work

We’re always looking to showcase new work year-round in our Monthly Issues, Spotlights and LIVE —so don’t hesitate to submit your work to Labocine.

Here’s how:

Submit your work:
→ Submit a film via our Film Submission Portal
→ Submit a scene via our Scene Submission Portal

Submission deadlines typically close approximately 10 days prior to the end of each month

If you're not yet a Labocine member, you'll need to sign up with your email to submit work. This allows us to ensure visibility and connection within our community of curators, contributors, and audiences.

Any questions about submissions, reach out to sciencenewwwave@labocine.com

How We Define Moving Image Works on Labocine

  • Films are edited and compiled works with credits—intended as standalone pieces.

  • Scenes are more free-form moving image works. These might include raw lab footage, data visualizations, field recordings, or installations. Scenes are often minimally edited beyond the camera settings used.

We encourage you to define your own boundaries between “film” and “scene.” Our categories are fluid by design.

Submission Process

  1. Submit your work via the appropriate (Film | Scene) portal mentioned above. Be sure to note in the comments section of your submission that you'd like your piece to be considered for a monthly issue.

  2. You’ll receive an email confirmation upon submission.

  3. If your work is selected, we’ll request a downloadable video file for archiving and presentation.

  4. If you’ve opted in to Labocine PRO (recommended), your work may also be considered for expanded programming and distribution opportunities. You can opt in or out of PRO anytime by going to: Your Lab > Film > Edit Notes.

  5. Our programming team reviews submissions within 1–3 days. The full review process takes approximately 3–5 days.

All submissions—whether selected for the issue or not—receive a dedicated film page on Labocine, ensuring they’re considered in future programs throughout the year.

Become a Science New Wave Member

To be eligible for programming review, you must be a Science New Wave Member on Labocine. Learn about the benefits of joining the Science New Wave community.

Wondering if you are Science New Wave Member? Check your Account profile—you’ll see a DNA/genetic sequence (12 letters made up of DNA’s four chemical bases—A, T, C, and G—also known as nucleotides or base pairs) next to your name if you are.

We also invite you to join HABITAT—our public-facing networking tool for scientists, artists, and educators—by completing your profile bio to gain visibility and connect with the wider Science New Wave ecosystem.

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Alexis Gambis Alexis Gambis

Symbiosis

One Scientist. One Filmmaker. Two Weeks to Make a Film

Submission Now Closed - Re-Opens early 2026

This year’s participants will be announced on May 2 at our Spring Party at the Science New Wave Lab in Brooklyn. RSVP now to join the celebration!

Six NYC-based filmmakers were selected and paired with Simons Foundation scientists to create original short films exploring bold science stories. Over two weeks in May, these collaborations will shape unique visions of science cinema, culminating in a premiere in the city.

The filmmaking intensive program will take place in May 2025.

Watch Symbiosis films on Labocine.

This work is supported by the Simons Foundation.

  • Join us for our Symbiosis XI Journey this year. Key events below.

    Applications are now closed for this year. Review the application guidelines below thoroughly for the following year. Still have questions? Write to us at sciencenewwave@labocine.com.

    [1] Become a Science New Wave Luminary Member

    The Science New Wave Luminary Member status will then appear on your Account/Habitat profile next to your photo with a unique DNA sequence.

    Learn more about SNW Luminary Member Benefits.

    [2] Submit a 1-page cover letter (PDF) sharing a bit about yourself, why you’re interested in participating in the Symbiosis initiative, and how you relate to the Science New Wave movement and its ideas.

    [3] Send us your video work via the Labocine platform.

    • If you are submitting a film (credits, edited), send us a screener via the Film Submission Portal. For raw footage/data (fieldwork, art installation, experiments) submit it via the Scene Submission Portal.

    • If you already have a video on Labocine, you're all set and do not need to resubmit this particular work! But feel free to submit more work—we’d love to see what else you've been creating and consider it for additional programming.

    • By default, all films/videos on Labocine are set to private and can only be viewed by those affiliated with the film and the Symbiosis Selection committee. Please note that we do not accept separate video links by email, as all films must be viewed by our Symbiosis Selection Committee directly on Labocine.

    [Below is optional]

    - CV/Resume

    - Creative portfolio: In the email, send us any links to sites or attachments to other non-video creative work and/or research (articles, presentations, sketchbook/storyboard).

    [Send by email]

    - Submit your application including attachments: sciencenewwave@labocine.com

    - Include in email title: Name - [SNW ID] (ex: Ringo Marquez - AGGGCATCAACC)

    - Share your public Habitat profile in your email submission (ex: https://www.labocine.com/habitat/ringo)

    [Mention/list in the email the material you are submitting to Labocine and included as links and/or attachments]

Symbiosis FAQ >>

  • Is Symbiosis no longer part of the festival in the Fall? That's correct—Symbiosis, now run by Labocine, has grown in popularity, and we’re experimenting with a new approach. It will now take place separately from the festival with the Simons Foundation, in the Spring, in New York.

  • Who can apply? For this edition, only artists and filmmakers living in New York in the spring are eligible to apply. Scientists will be selected from the Simons Foundation.

  • What are the key dates? The dates are posted above but here’s a general timeline: the filmmaker cohort will be announced mid-March, a mixer will take place at the end of March, a Symbiosis Lab meeting will be held mid-way through production in our SNW Lab, and there will be a final screening at the end of production.

  • Do you cover travel and housing expenses? No, we do not cover these expenses this time around as filmmakers must be living in New York.

  • Can I do any creative work in advance of Symbiosis? Creating this film should be an equal collaboration (thus the term Symbiosis) between scientist and filmmaker. This means that all visuals, sounds, subject matter and approach must be decided after meeting your scientist partner on the first day of the process. All creative work must take place during the 2 weeks of Symbiosis. That said, you will have a few weeks before the production to get to know the cohort and tell us who you’d like to be paired with ideally.

  • Can we include a film crew beyond the scientist and filmmaker? Yes, you can. However, all decisions regarding additional crew members should be made collaboratively between the scientist and filmmaker. We do want both of you to be very hands-on in all stages (concept, production, editing).

  • Are we expected to work on our films full-time? No, we understand that everyone has other commitments. However, please ensure you remain in the city for the full two weeks. All we ask is clear communication, planning to work together, and setting a schedule. This year, we’ve extended the production to two weeks instead of one to better accommodate this.

  • What kind of films are you expecting? The only condition is that films be under 10 minutes. Surprise us! We love films that defy categorization—innovative documentaries, gripping science fiction, fictional documentaries, experimental film, personal essays, and creative animation. We also support sci-art collaborations, where scientists and filmmakers work together, or scientists create films and artists conduct experiments. It's all open-ended!

  • Can you provide equipment or any resources? All pairs also receive a production stipend and need to manage their own productions and account for their expenses. This stipend should cover all costs related to production, including equipment. For very specific requests and with anticipation, we are able to host your in our SNW Lab space (ex: microscopy filmmaking)?

  • What happens to our films after Symbiosis? After Symbiosis, the films are yours. However, any decisions regarding revisions, editing, distribution, or further use should be made in collaboration with your partner. Additionally, both Labocine and the Simons Foundation reserve the right to showcase the films through their channels. Rest assured, this is a great opportunity—we'll be helping to expand your film’s reach!

  • I still have a question. Who can I contact? First, please check if your question is already answered here. If not, feel free to send your inquiry to sciencenewwave@labocine.com.

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Alexis Gambis Alexis Gambis

Bodies of Water

Bodies of Water – One Hour, One Flow

First Series Opens: May 1, 2025

FIRST EDITION / Series II Opens: May 1, 2025

Introducing Bodies of Water, a new addition to Labocine’s Scenes initiative—one uninterrupted hour capturing oceans, seas, lakes, ponds, and rivers, exploring the movement, rhythm, and presence of water. The composition should be dominated by water, covering at least half of the visual space.

Send us your proposal : via the Labo-scene Submission Portal.

In the caption, provide us with a short description of this area and why this body of water is important for you to document and share with the world.

Include in thumbnail, an image of your aquatic landscape. Needs to be match or be close to where your camera will be place for your recording.

If selected, we will reach out to you with more information. A few preliminary guidelines below.

Guidelines

  • Scene needs to be exactly one hour (60 minutes / 3600 seconds) in duration. Continuous shot, no time lapse or jump cuts. If the camera turns off, make sure to be nearby to exchange battery or memory card restart it quickly (within a few seconds). 

    The shot must feature a body of water occupying more than 50% of the frame, ensuring it remains the dominant visual element.

  • No edit or post-production (no color/speed/sound manipulation, music, text) is allowed (apart from remove off a few seconds at start/end for the 60-minute precision and/or stitching clips together.

  • Ideal Resolution is 4k (3840 x 2160 pixels) but we will accept at minimum 1080p (1920x1080 pixels) and ratio needs to be 16:9 (horizontal).

  • Recorded in ‘real time’ at a standard frame rate of 24fps or 30fps (time-lapse or slow-motion not permitted).

  • Format for recording (ProRes and/or H264, .mov or .mp4)

  • Fixed camera (tripod or rigged to stationary element) No adjustment to camera settings or position are allowed during the recording.

  • The camera should be positioned at the average height of human eye level. The landscape and the frame should also be at the same level (no aerial shots, low or crooked/dutch angles). 

  • Camera should be placed on a tripod or rigged to a stable surface.

  • Use a lens with a focal length ideally 50mm (closest to the human field of view) and if not between 20-70mm. Avoid fish-eye or telephoto lenses.

  • The sound needs to be diegetic (sound that originates from the world of a film). An external sound recorder is permitted but needs to be in sync with image and close to camera. You can use camera audio or attach an external microphone but no external sound equipment placed elsewhere or recorded at another location or time. No additional ambient score or music. 

  • No edit or post-production (no color/speed/sound manipulation, music, text) is allowed (apart shaving off a few bits on the bookends for the 60-minute selection.)

  • Little to no human activity. The scene should not intentionally frame animals, including human(s), though it can include visible signs of human/animal impact, depict urban surroundings and incidental human/animal activity. 

  • Be on the look for transitions (day to night, frame crossing, natural metamorphosis or transformations on-screen).

  • In the caption, note down the exact location, including latitude and longitudinal coordinates. Here are examples of formats that work: Decimal degrees (DD): 41.40338, 2.17403. Degrees, minutes, and seconds (DMS): 41°24'12.2"N 2°10'26.5"E.

  • In a caption, indicate time of the day and time zone (ex: 3:42 PM to 4:41 PM India Standard Time) 

  • Resubmit your Scene via our Submission Portal - include link for download (H264 / ProRes single file), title, credits, synopsis, thumbnail (no text overlay), location and coordinates.

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Alexis Gambis Alexis Gambis

Scenes from the Forest

Views of forests across the globe.

Second Series re-opens: March 1, 2025

FIRST EDITION CLOSED / Series II Opens: March 1, 2025

Share with us scenes from forests that you have visited and/or lived in. For this project, forest is widely used to describe any landscape with trees from the conifers of the boreal north to lush canopies of tropical rainforests, stopping by the hidden groves, reforestation projects, ancient trees and intricate wooded realms.

Check out our Scenes from the Forest on Labocine.

Send us your proposal : via the Labo-scene Submission Portal.

In the caption, Provide us with a short description of this area and why this forest is important for you to document and share with the world.

Include in thumbnail, an image of your forest landscape. Needs to be close to where your camera will be place for your recording.

If selected, we will reach out to you with more information. A few preliminary guidelines below.

Guidelines

  • Scene needs to be exactly one hour (60 minutes / 3600 seconds) in duration. Continuous shot, no time lapse or jump cuts. If the camera turns off, make sure to be nearby to exchange battery or memory card restart it quickly (within a few seconds). 

  • No edit or post-production (no color/speed/sound manipulation, music, text) is allowed (apart from remove off a few seconds at start/end for the 60-minute precision and/or stitching clips together.

  • Ideal Resolution is 4k (3840 x 2160 pixels) but we will accept at minimum 1080p (1920x1080 pixels) and ratio needs to be 16:9 (horizontal).

  • Recorded in ‘real time’ at a standard frame rate of 24fps or 30fps (time-lapse or slow-motion not permitted).

  • Format for recording (ProRes and/or H264, .mov or .mp4)

  • Fixed camera (tripod or rigged to stationary element) No adjustment to camera settings or position are allowed during the recording.

  • The camera should be positioned at the average height of human eye level. The landscape and the frame should also be at the same level (no aerial shots, low or crooked/dutch angles). 

  • Camera should be placed on a tripod or rigged to a stable surface.

  • Use a lens with a focal length ideally 50mm (closest to the human field of view) and if not between 20-70mm. Avoid fish-eye or telephoto lenses.

  • The sound needs to be diegetic (sound that originates from the world of a film). An external sound recorder is permitted but needs to be in sync with image and close to camera. You can use camera audio or attach an external microphone but no external sound equipment placed elsewhere or recorded at another location or time. No additional ambient score or music. 

  • No edit or post-production (no color/speed/sound manipulation, music, text) is allowed (apart shaving off a few bits on the bookends for the 60-minute selection.)

  • Little to no human activity. The scene should not intentionally frame animals, including human(s), though it can include visible signs of human/animal impact, depict urban surroundings and incidental human/animal activity. 

  • Be on the look for transitions (day to night, frame crossing, natural metamorphosis or transformations on-screen).

  • In the caption, note down the exact location, including latitude and longitudinal coordinates. Here are examples of formats that work: Decimal degrees (DD): 41.40338, 2.17403. Degrees, minutes, and seconds (DMS): 41°24'12.2"N 2°10'26.5"E.

  • In a caption, indicate time of the day and time zone (ex: 3:42 PM to 4:41 PM India Standard Time) 

  • Resubmit your Scene via our Submission Portal - include link for download (H264 / ProRes single file), title, credits, synopsis, thumbnail (no text overlay), location and coordinates.

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Alexis Gambis Alexis Gambis

Ciné-marquise

Single takes of cinema façades from around the world

Deadline: Series II Re-Opens: Sept 1, 2025

SUBMISSIONS CLOSED / Series II re-opens: September 1, 2025

Capture the architectural and cultural beauty of movie theater facades around the world in a single, uninterrupted 7-minute take. This project pays homage to the origins of cinema, commemorating the first public screening on December 28, 1895, in Paris. Share your unique perspective on these iconic spaces, contribute to their preservation and their cultural legacy.

View our Cinema Marquees on Labocine.

Submission Process

  • Submit your Cinema Marquee Proposal via the Labocine Scene Submission Form. We will then get back with more information. Specify if possible your estimated production/submission.

  • Re-submit using the same Scene Submission Form your final film and send us a link to download file (specs: 1080, H264).

Guidelines for Filming

  1. Duration:

    • Each submission must be a continuous, unedited 7-minute shot.

  2. Camera Setup:

    • Use a tripod for stability or ensure the camera remains completely still if handheld. Stability is essential to maintain the integrity of the static shot.

  3. Framing:

    • Frame the full facade of the cinema, ensuring the entire architectural structure is visible within the composition.

  4. Focus:

    • Keep the focus on the facade, as a single frame, no pans, zooms, or movements.

  5. Sound:

    • Keep camera sound. Ambient sounds of the location. No adding any external music or soundtracks.

  6. Format:

    • Submit the video in high-resolution formats (HD or 4K recommended).

  7. Post

    • No post-production apart from selecting 7 continuous minutes at 24, 25 or 30fps. No text overlay during, before or after. The first image and last image should show the cinema marquee.

Celebrate the global diversity of cinemas and their timeless role as cultural landmarks. Your scene will become part of a collective tribute to the legacy of the 7th art.

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Alexis Gambis Alexis Gambis

Museum Portrait

Capturing the life of museums with little human activity.

Second Series re-opens: March 1, 2025

FIRST EDITION CLOSED / Series II Opens: September 15, 2025

We are seeking short portraits of museums - both interior and exterior. While we’re focused on science or natural history, we are open to your interpretation of what constitutes a "science museum," recognizing that every museum can be seen as a scientific experiment in its own right.

Take a look at our current Museum Portraits on Labocine.

Submission Process:

  • Submit your Museum Portrait Proposal via the Labocine Film Submission Form. We will then get back with more information. Specify if possible your estimated production/submission.

  • Re-submit using the same Film Submission Form your final film and send us a link to download file (specs: 1080, H264).

Format and Guidelines:

  • Pecha-Kucha Format:
    20 fixed video clips, each lasting 20 seconds, for a total runtime of 6 minutes and 40 seconds.

  • Camera & Editing

    • Use a tripod or ensure an exceptionally steady hand to minimize movement.

    • The framing should prioritize static or gently shifting perspectives.

    • Any camera, even smartphone, is acceptable.

    • No post-production apart from the choice in how you’d like to arrange your 20 20-sec clips.

    • Text overlay / Captions are optional.

  • Audio Requirements:

    • All sound must be diegetic, originating directly from the museum space. If not, please explain why in your caption.

  • Focus Areas:

    • Highlight architectural elements, artifacts, paintings, specimen, objects, and installations.

    • Reflect on the museum's colonial past, capture its current reality, and imagine its future possibilities.

  • Human Presence:

    • Avoid focus on people, but incidental human activity or impacts (e.g., voices, traces of interaction, by-passers) are acceptable. Non-human activity is not only permitted but highly encourage

  • Creative Flexibility:

    • We welcome diverse interpretations of what a "science museum" can be, encouraging an imaginative and experimental approach.

  • Inspirational Reference:

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