Phosphenes II

Deep in an ocean facility, Aryanna, must face the unknown, as drips from water-tight air vents and scratches from within empty cells drive her to the brink of madness.

When we are in the dark, we can see only the sign of the space. The moment the light comes into the room, we can see another space. This space is the incorporated like smoke construction that is composed of the dark, light and time.

A video sketch at Hayama's bed, situated in Bangkok.

Mara—the spirit of the night, the weaver of darkened dreams—pressed upon my chest as sleep held me captive. My memory. In the haze of a dream, I saw those I loved, their faces bathed in an otherworldly glow. The nightmare was not the shadows nor the fear they whispered, but the cruel certainty of waking—of losing them to the morning light

Theo (Théo Deliyannis) made three consecutive trips to the island of Syros in Greece, where part of his family had lived. He knew the island well, but everything was changing there, and so he decided to record, in the form of fragments, the small impressions of his daily life, of what he did, saw, smelt and touched there. From the weather to the cats waiting outside his door, from the crumbling rock to the food that goes down the drain, everything is carefully transcribed. Little by little, Théo sinks into the island...

Hacking a claw machine inside C4D.

Awake / El despertar

Maxed out, burnt out, and sex-starved, Amber Su falls under the spell of glamorous self-help guru Coco Ging, whose mentorship turns desire and ambition into different kinds of debt. Repression evolves into possession as Amber molts into a new ego: a worksona.

A woman uses an AI chatbot to try to find closure with someone she lost.

The Eye explores silent landscapes where nature and absence coexist. Between the memory of places and resilience in the face of time, the film oscillates between beauty and existential vertigo, capturing what persists and what fades.

An investigation about human intervention in nature, from the subjective point of view of the camera, the environment and its transformation are observed.

Crab Day is a short film made to accompany Cate Le Bon’s eponymous album, released on April 15, 2016 via Turnstile. Directed by Phil Collins and shot on location in Berlin in the winter of 2015.

What happens when two hands touch? How close are they like? And how can proximity be measured, and even more so, in times of a pandemic and distancing? We think we touch things, that we can take other people by the hand, but physics tells us quite another story.

A young woman, overcome with hunger, trades her brother for a sack of rice. The cost will be even higher than she bargained for.

Viet Flakes was composed from an obsessive collection of Vietnam atrocity images, compiled over five years, from foreign magazines and newspapers. Schneemann uses the 8mm camera to “travel” within the photographs, producing a volatile animation.

A hypnotic mise-en-abyme constructed from JVC camcorder footage of a parking garage. Produced in tribute to teacher, filmmaker and video artist Peter Rose and the work of Piet Mondrian.

Helle Köpfe

A young lover has to cope with losing the love of his life and come to terms with the fact that she has moved on to bigger and better things

The Tragedy of an Artist, is an experimental short shot over the course of a week. This film is meant to illustrate who Hero Foltz is as a person and his struggles with self identity

Les Dames Aveugles