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Cosmic horror explores the elements and matter of so-called inanimate nature, which become actors and form a new ecosystem. A stream of depictions of fluid materials embedded into each other is accompanied by an unsettling soundtrack that reinforces the uncertainty of whether we are watching a cosmogonic or eschatological vision.

A curator at a high-profile art gallery finds herself drawn to a young, polyamorous artist who introduces her to a lifestyle that reflects a part of herself she had once abandoned.

By confronting the devastating truth of fatal violence against women, this experimental dance short shifts focus from passive victimhood to the strength and power of resilience.

The versatile artist, BEK Hyunjin ventures into theater direction, leaving the actors in a state of confusion. His unconventional direction unfolds into strange scenes on stage. Scenes of people howling, a woman's monologue, another woman lip-syncing a song appear in random order, and BEK Hyunjin himself appears on stage as a primitive man, a singer and a narrator.

A spate of robberies in Southern California schools had an oddly specific target: tubas. In this work of creative nonfiction, d/Deaf first-time feature director Alison O’Daniel presents the impact of these crimes from an unexpected angle. The film unfolds mimicking a game of telephone, where sound’s feeble transmissibility is proven as the story bends and weaves to human interpretation and miscommunication. The result is a stunning contribution to cinematic language. O’Daniel has developed a syntax of deafness that offers a complex, overlaid, surprising new texture, which offers a dimensional experience of deafness and reorients the audience auditorily in an unfamiliar and exhilarating way.

Cosmos of paint unleash a storm of color.

High Voltage is constructed from footage James Whitney contributed to Belson for use in one of his Vortex concerts.

Night vs. light, music vs. motion, figuration vs. abstraction. Experimental video artist Max Hattler utilises distorted urban imagery and neon glare to create this entrancing short

Dana Claxton uses low-grade video equipment to create degraded images that correlate the treatment of the earth with the treatment of women’s bodies. A figure stands enmeshed in cutting barbed wire among ravaged forests and chopped tree stumps. Grainy black-and-white images have been electronically ripped, cut and torn in post-production while repeated images of the artist’s open-mouth scream silently against a volatile red sky. A video work from the early 1990s continues to resonate in our contemporary moment—and with decades of missing and murdered Indigenous women across exploited lands.

The gushing syringe of a transvestite hormonal application ritual inaugurates a tridimensional failure in the matrix of gender and the molecular constitution of the body. Bones, skin and muscles are pulverized into the video and merge with the molecules of images in a cybernetic dissolution.

Trapped and lost in a crowded metropolis, the Grief navigates its way to find its missing owner. It has no timeline, it has no directions, and it is a cycle. The Grief evolves as it moves through different urban spaces & public transportation. As the Grief finds its missing owner, it has come to a realization that all this time, they’ve been together but both are lost.

Jerod's first day out of prison entrails an exorbitant escapade of American unipolar indulgence.

A cat trying to nap.

Utilizing super 8mm and an economical shooting method of quick, short shots building idiosyncratic rhythms via rapid editing techniques, time, nature, and even the body folds in on itself. Everybody Dies (2020) is a poetic journey into the desert. It’s a reflection on the nature of death as something not to be feared, but embraced as a part of a personal and universal human experience. Super 8mm.

Divine Intervention explores the journey of a woman tormented by the entanglement of her hair, seeking solace through a spiritual guide. Together, they employ a unique technique to enter her consciousness, aiming to uncover the root of her distress. The Yuan Shen Palace, also known as the House of the Mind, is depicted as a virtual world constructed by the brain. If it truly exists, it might function like a vast organic hard drive, recording the intricate details of one’s life. The film strives to rationalize magic and symbolize the process of spiritual healing.

Not even the beam is perfect

In a country house a patriarch lords over his community made up of a tired woman and a boy in the midst of an economic-adolescent crisis. The guest of the facility is Dr. Girarda, a chemist extradited from Poland.

Since the day I was born is composed through a reflection on remorse and the search for mental liberation from the death of the individual. In the short film, barely two minutes long, an anonymous man remembers all the moments in which he has failed in the game of life; moments in which he has made mistakes, or has chosen the wrong option, harming someone close to him or himself, while his body hangs from a rope and is little by little deprived of oxygen. He regrets what he has experienced since the day he was born, but he also regrets the drastic decision he has just made.

In a world with fantastic potential, an apathetic sedentary couple let themselves live till they die

A psychoanalyst helps a patient to achieve his ambitions.