lasso the moon

A 16mm experimental film that analogizes the discourse of racialized criminality and the carceral apparatus, which surveils and delimits the movements of Black people’s bodies, with the conventions and mechanics of the cinematic apparatus which regulates and standardizes the movement of the filmstrip through the motion picture camera and projector. Equal parts essay and visual art, Speaking in Tongues embodies the cinematic Black ecstatic that simultaneously re-envisions resistance defiance in the face of anti-Black state violence and subverts the conventions of cinematic realism through a manually and optically altered collage of original documentary and archival film sourced from Hollywood movies, television commercials, educational films, cartoons, European art cinema and miscellaneous ephemera.

X-ray images were invented in 1895, the same year in which the Lumière brothers presented their respective invention in what today is considered to be the first cinema screening. Thus, both cinema and radiography fall within the scopic regime inaugurated by modernity. The use of X-rays on two sculptures from the Bilbao Fine Arts Museum generates images that reveal certain elements of them that would otherwise be invisible to our eyes. These images, despite being generally created for technical or scientific purposes, seem to produce a certain form of 'photogénie': they lend the radiographed objects a new appearance that lies somewhere between the material and the ethereal, endowing them with a vaporous and spectral quality. It is not by chance that physics and phantasmagoria share the term 'spectrum' in their vocabulary.

Experimental film by Toshio Matsumoto created for the 1970 world's fair, Expo '70 in Osaka. The film was made up of multiple projections onto the inside of the Textile Pavilion, a dome with an interior designed by Yokoo Tadanori, and featured a 57-channel music score by Joji Yuasa.

Director Lam Can-Zhao leads a small film crew as they shoot a film about a stray dog in the streets of Guangzhou, leading viewers into an unpredictable, peculiar and incredible journey.

This is a story about a man who believes that he has two “selves” - external and internal. That is, an organism is a certain conglomerate of cells, each of which is a separate individual. This hybrid creature has a certain common personal “I” that uses the entire organism, and is the organism itself, which has its own will. According to the character, one can communicate with him, which is what he is trying to do. He wants to reach him and comes up with different ways of communication: injecting substances under the skin or intravenously, tattooing texts on the body, swallowing objects. The answer would come in the form of a rash or other physical manifestation that had to be interpreted. As a result, communication is carried out and the second “I” agrees to die.

Each day after work, Carlos, a language school teacher, frequents the heady surroundings of his local cruising ground. One evening he encounters a teenage boy from his class named Toni, and the two engage in a brief sexual tryst. As the relationship between teacher and student begins to develop, some dark truths emerge about the young man and his mysterious group of friends.

For this behemoth, Bressane took his opera omnia and edited it in an order that first adheres to historical chronology but soon starts to move backwards and forward. The various pasts – the 60s, the 80s, the 2000s – comment on each other in a way that sheds light on Bressane’s themes and obsessions, which become increasingly apparent and finally, a whole idea of cinema reveals itself to the curious and patient viewer. Will Bressane, from now on, rework The Long Voyage of the Yellow Bus when he makes another film? Is this his latest beginning? Why not, for the eternally young master maverick seems to embark on a maiden voyage with each and every new film!

An interconnected look at tradition, colonialism, property, faith, and science, as seen through labor practices that link an endangered salamander, mass-produced apples, and the evolving fields of genomics and machine learning.

Markopoulos called Lysis “a study in stream-of-consciousness poetry of a lost, wandering, homosexual soul” and felt that the film foreshadowed The Illiac Passion.

CREMASTER 2 is rendered as a gothic Western that introduces conflict into the system. On the biological level it corresponds to the phase of fetal development during which sexual division begins. In Matthew Barney's abstraction of this process, the system resists partition and tries to remain in the state of equilibrium imagined in Cremaster 1.

CREMASTER 3 (2002) is set in New York City and narrates the construction of the Chrysler Building, which is in itself a character - host to inner, antagonistic forces at play for access to the process of (spiritual) transcendence. These factions find form in the struggle between Hiram Abiff or the Architect ...

Short experimental 16mm film.

A small girl's nightmare. Untitled No.1 is part of Mike Plante's Lunchfilm series of commissioned shorts (made for the cost of a lunch between Plante and filmmaker Nina Menkes).

For years I've been looking for the means to capture everyday life just as it is perceived through a glance from the street. Twenty years ago, you could see young people standing with their bicycles on street corners, in fact, if the bicycles where there, you could be sure to find the young people standing there talking. I would like to document these kinds of events. On this occasion, I was presented with the opportunity to do so. For two and a half weeks, I walked around different parts of the city with my camera and collected images for the film. (Harun Farocki, 1979)

A young man pretends to sleep while he watches his lover go through her morning routine.

A pre-internet mash-up that mixes “Peanuts” and David Lynch’s “Blue Velvet.”

A dying man in his forties recalls his childhood, his mother, the war and personal moments that tell of and juxtapose pivotal moments in Soviet history with daily life.

The winner of the Miss World Virginity contest marries, escapes from her masochistic husband and ends up involved in a world of debauchery.

The second part: Brakhage’s layering of images spends less time with images of war, and begins filtering in scenes of Vienna and his home in Colorado. He sets up a comparison between “Kubelka’s Vienna” and his own.