In his 1900 short film l’Homme Orchestre, movie pionier Georges Méliès manages to conjure up six doppelgängers of himself, due to meticulous preparation and hours of montage. With today’s technology, we can (virually) double ourselves easily. We chat with friends from other continents via Skype, while on Facebook checking in in our favorite bar around the corner. Meanwhile, we effortlessly maintain several versions of our identity, from our Tinder or LinkedIn profiles to the actual, tangeable person our loved ones know. In Doppelgänger, Nadar presents a multi-layered musical and visual discourse, with avatars as main characters. Whereas the pieces by Simon Steen-Andersen and Serge Verstockt set a magic atmosphere, Michael Beil creates a more gloomy wonderland, full of Lynchian alienation. Finally, with Generation Kill – offspring 1, Stefan Prins leads us to the dark side of the wondrous technology.