Door

The journey of a boy accepting that his lover is gone

“All that which in Picture is not of the body or argument thereof is Landskip, Parergon, or By-work” (Thomas Blount, Glossographia, 1656).

Set at an artificial reservoir in North Carolina, RESERVOIR (SEVEN FRAGMENTS) is a meditation on the unnatural histories of the American environment. The film approaches both the cinematic image and the landscape it captures as damaged, estranged things—things adrift in a world of irreparable discord.

o céu diante dos meus olhos nunca é cinza

Seoul, 1996. Wastewater from developed film reels is dumped into the sewers. From this toxic discharge, a monster awakens, carrying the memories of countless movies imprinted on the film reels. Burdened by a vanished past, the monster wanders the city.

Cartas de Arapuca

In an attempt to represent reality, the boundary between life and art blurs between fragmentary images of someone and the praxis of an essay film.

Omniac

Questions how we as individuals are psychologically relying on our inhabit spaces and how we as society are influencing and being influenced by our surroundings.

A contemplative portrait of a liminal space, where anonymous inscriptions transform a place of transit into a quiet archive of memory

Kaito lost his sister who was his lover in his childhood. He severed all contact with the outer world for twenty years and devoted his time to writing down memories of his sister. One day, a week before the manuscript is to be completed, a woman visits his room. She burns all his papers and takes him to the city to cut him off from his memories. Nevertheless, Kaito cannot stop writing about his sister. The woman decides to lead him on a journey to ultimate hell.

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.

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

James May celebrates the toys that made his childhood hell as he opens the lid on his sisters' toy box. Sandwiched between elder sister Jane and younger one Sarah, many of their favourites he couldn't understand - or stand the sight of - or see the point of.

A long-form 'artist moving image' documentary film that sits in a fictitious conceit that begins in a distant future, inspired by Russell Hoban’s cult novel ‘Riddley Walker’. A medley of documentary, fantasy, song and dance: shot on a tapestry of celluloid film stocks and developed by hand.

A night of tortured and solitary sleep, in which fears unfold and a bell tolls.

The story takes place in the landscapes of La Spezia, where urban and rural environments intertwine. Water plays a primary role as a form, alongside the circle (e.g., bicycle wheels, pizzas, clocks…), which sets the rhythm of the character’s life, dynamically accelerating until it becomes very fast. The overlapping forms invite the viewer into the cyclical rhythm of the short film, moving from the spinning bicycle wheel to the washing machine drum in the character’s bathroom, from a freshly tossed pizza to the delivery mailbox, and finally to a dead-end wall. Savana is a race against oneself and against others; it’s a matter of decision and unpredictability — it’s black or white.

Years after being abandoned without explanation, a lonely woman in her forties agrees to spend one last day with the man who had once disappeared from her life. As they wander through a transformed city, nostalgia, regret, and revenge become impossible to separate, culminating in an eruptive act of feminine rage.

Guided by the recitation of a poem, the story of a couple transforms into an intimate ritual where desire, love, and cannibalism become intertwined.

Energy cannot be created or destroyed. When we die, where does our energy go? Inspired by Vauhini Vara's essay "Ghosts", in which she prompted Al to help her write about her sister's passing, "GHOSTS" takes us on the emotional journey of grief. We see a ghost figure trying to get through to her sister, who is still alive, and let her know she's still around somehow. There are two poems in this piece, one is a poem written by GPT 3, and the next is the director's (Oriana Mejer) response to it. This film uses spoken word poetry, TouchDesigner motion graphics, and is originally scored by French musician Taime.