Ma bande magnétique arrière

In the Moroccan desert night dilutes forms and silence slides through sand. Dawn starts then to draw silhouettes of dunes while motionless figures punctuate landscape. From night´s abstraction, light returns its dimension to space and their volume to bodies. Stillness concentrates gaze and duration densify it. The adhan -muslim call to pray- sounds and immobility, that was condensing, begins to irradiate. And now the bodies are those which dissolves into the desert.

This work is an attempt to overcome alienation amidst the fragmented construction reality of everyday narrative. Rethinking the meaning of reflections and shadows, framed subjects, body movements, screen, as well as sounds that are constructed by connecting the expression of their existence with the history of representation in modern art.

This short, started early on into sobriety, finished about nine months in, is a collage of diaries and notes, collected from within addiction and into recovery.

Structural study of a tree. Light, water and air coax it out of the soil in a manner foregrounding time’s relativity to different forms of life on Earth. Made the day my brother got his fork-lift license.

The rise and fall of Commodore computers in the 70s and 80s as described by the people who created the companies and technologies.

A wall and a ball.

This short film follows an intoxicated character's journey through the mystery, beauty and eeriness of his environment.

3D Realms has teamed up with some of the most iconic legends behind one of the oldest genre of video games to bring you a piece of gaming history like no other.

Experimental documentary that poetically exposes the reality of public transport in the city of Curitiba.

Date palms imported and cultivated decades ago flourish in the Coachella Valley in Southern California. A cacophony of voices from across generations reflect on the shifting landscape of the region; some remember the first few acres that were planted, while others enjoy the luxuries of new golf courses. Feet in Water, Head on Fire is a sensorially vibrant 16mm experience that takes us on a journey of past, present, and future. Director Terra Long hand-processed the footage utilizing leftover dates and native plants intertwining the environment into the fabric of the film. Through complex and nuanced scenes, non-sync interviews blossom into a wonderfully gentle but memorable portrait of a community in flux.

Be. Belonging. Words on vintage flash cards shuffle past in a stream-of-consciousness that shows the mind working, assigning labels and names to things through love and language. In the space of a moment, perception embarks on an epic journey of tongues, through Cantonese and English sounds and Ektachrome memories that form the characters and identity of this American-born Asian filmmaker.

Kingdom Come: Deliverance is a unique single-player RPG set in the realistic world of medieval Europe. The path to its release was a long and complicated one: the game was rejected by publishers as too risky and its development was only possible thanks to the support of thousands of backers on Kickstarter. Even then, the developers still faced a whole range of obstacles due to the game's unconventional ideas and mechanisms. This documentary charts the more than six-year long, tortuous journey from the foundation of Warhorse Studios to the final release of the game.

Across the installation's multiple channels, the camera circles a group of artists as they sit together in a field eating, licking, and squeezing ripe tomatoes. Throughout the ever-changing scene, kisses, whispers, and caresses are shared with a casual, gentle intimacy that reflects interconnectivity and abundance. These queer and desirous exchanges constitute a portrait of collectivity wherein individuals come together as distinct parts of a whole.

A woman attends a party where she is observed by and finally meets a mysterious guest.

Stuck in the traffic of life.

Noise, static, channel change...

Optical art with camera movement.

Time lapse of clouds and a mimosa tree to the silhouette at dusk.

Young members of 3 New Orleans school marching bands grow up in America's most musical city, and one of its most dangerous. Their band directors get them ready to perform in the Mardi Gras parades, and teach them to succeed and to survive.

In Untitled (Pink Dot), Murata transforms footage from the Sylvester Stallone film First Blood (1982) into a morass of seething electronic abstraction. Subjected to Murata's meticulous digital reprocessing, the action scenes decompose and are subsumed into an almost palpable, cascading digital sludge, presided over by a hypnotically pulsating pink dot.