I Don't Repeat it Twice

A hearse cruises the streets of Medellín, while a young director tells his story in this city marked by conflicts, violence and paradoxes. He remembers his childhood and the discovery of his sexuality.

This is an installation documentary created in 2015. The quiet process of making boxes indoors reflects the author's patience and caution, the narration when the screen is black reflects the author's familiarity and confidence in what he wants to express, and the dodging perspective and trembling picture when facing the crowd outdoors reflect the photographer's cramped and alienated. A lot of things happened after 2015, and the film was re-edited. The current version has almost used the best materials of that year.

A dialogue and home video about belonging, from young people living in modern colonial society.

The Black Box

Through phone call conversations, an aspiring Ilocano filmmaker relates to his mother working in Italy about his dreams and struggles while documenting the invisible betweenness of their language and distance.

What are they? What do they seek? When all the lights go out, they will wander. And you will never see them.

Cinema da nossa gente

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.

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

A ritual of grids, reflections and chasms; a complete state of entropy; a space that devours itself; a vertigo that destroys the gravity of the Earth; a trap that captures us inside the voids of the screen of light: «That blank arena wherein converge at once the hundred spaces» (Hollis Frampton).

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

It is a documentary about mostly inner-city birds. It is meant to examine their lives in a more metropolitan context as they become increasingly tangled in our everyday lives.

Structured as a labyrinth-like game and inspired by Jorge Luis Borges, Aleph is a travelogue of experience, a dreamer's journey through the lives, experiences, stories and musings of protagonists spanning ten countries and five continents.

Sunny. Semantic sequences guide the gaze, a gaze that is sometimes raised, propelled downwards, then too high or motionless in front of an unrecognizable and yet so familiar vision. The images, linked by echoes of chromatic palettes and linear layers, scroll to the rhythm of a voice, reminiscent of an incantation. Sacred.

a film about memories & showering.

Here is a crazy man who goes to the movies. Today's destination is 'Seoul Art Cinema' located in Jeong-dong, Seoul. Before passing through Independence Gate, climb the mountain and look at Seoul Art Cinema in the distance. Will he be able to watch the movie safely?

Farmers in the Île-de-France region, they filmed life on the farm, working in the fields, and family and village celebrations on 8 mm or Super 8 film. From the 1950s to the 1980s, these testimonies unfold a history of rural life: we move away from a peasant and family model to industrial agriculture for export. Through these family images, I attempt to answer my own questions about our agricultural future. In the 1950s, the land of Île-de-France fed us.

Idak-Idak-Idak is a hybrid-documentary relating the stolen Lombok Treasures with the Sasak diaspora through three generations of women: a daughter, her mother, and her grandmother. Blending full-spectrum cinematography with personal footage, this film moves between Indonesia and the Netherlands to examine colonial legacies, displacement and healing the heart of home. In Sasak, "Idak" can be interpreted as both “heart” and “absence”, becoming a container for memory, loss, and the unseen layers of the self between generations.

Filmed in Berlin, July 1990. Images of workers taking down the wall and street peddlers selling pieces of it to make a living.

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.