Title in the End

A costume designer is sent to the Catskills for an interactive theatre piece set in the 1920s. When she arrives things seem dark, strange and off. She soon realizes she is part of a student film.

Sometimes it is very difficult to distinguish dreams from reality. What is a dream? Oblivion or flight? Dream collaboration with a love that no choice could suddenly seize every Love is invisibly present in everything:. In burning candles, trembling petals, or the whisper of the wind trembling wings of a butterfly - Failure to nowhere, drop into eternity, infinity soaring - Plast problems and worries of everyday savings, suffering, expectations. But then: dive in yourself, in its essence, in its original And the gap:. dizziness, drop, hover, dive into the freshness of dew, moisture, spring - Finally: enlightenment, cleansing , clarity of thought, the joy of existence. And then, the flight again, merger and dissolution of eternity.

A film-parable about the eternal movement of mankind from the Stone Age to self-destruction.

A magician encounters the void that separates the human mind from divine consciousness and in turn faces the mad god.

Cindy sits down for a normal Sunday dinner when a series of strange events lead her to question the state of her being and morality.

A lonesome man at the threshold of death finds himself trapped in a place called the Endless.

"A Motion Selfie" is one-of-a-kind DIY filmmaking: a darkly comic chronicle following a year in the life of a washed-up viral video star and the sexually depraved stalker who becomes obsessed with his work.

A stranger arrives in Sarajevo and barges into Damir's reclusive world. Little by little she takes over his life. She absorbs his dreams, until finally she threaten his very existence.

A poetic essay. An Algerian soldier wanders through Algiers and the countryside, whilst a voiceover of the soldier's mother laments his death.

A gloomy tale or a completely innocent family picnic on the open air ...

Witch’s Cradle is an unfinished Maya Deren film made in the Guggenheim Gallery during a surrealist “Art of this Century” exhibit. It was assembled long after her death by staffers within the preservation department at Anthology Film Archives.

A completely new story based on existing footage from the series Columbo.

A dark formless body moves . Formlessness of an entity is because a constant change in form is perceived as formless

Attempts to showcase how the creation of art directly correlates to the perception we have of ourselves and the life around us as shown through the eyes of a struggling family.

Number Two’ is an audio visual work which materializes the definite possibilities of sight and the existence of light in space with the drama in between image and sound as a reaction . It treats the surface of the film itself as a digital artefact that forms an image with a human intervention .It can be seen as an enlargement of a moment in time where form and space breaks inside an indefinite reality .

A woman returning home falls asleep and has vivid dreams that may or may not be happening in reality. Through repetitive images and complete mismatching of the objective view of time and space, her dark inner desires play out on-screen.

A woman is stalked by a mysterious hooded spectre. An Autumnal homage to and inspired by Meshes of the Afternoon by Maya Deren.

A woman is plagued by her overactive imagination.

An experience in nightmarish transcendence.

Shot on 16mm celluloid across parts of New Zealand and Samoa, interdisciplinary artist Sam Hamilton’s ten-part experimental magnum opus makes thought-provoking connections between life on Earth and the cosmos, and, ultimately, art and science. Structured around the ten most significant celestial bodies of the Milky Way, Apple Pie’s inquiry begins with the furthest point in our solar system, Pluto, as a lens back towards our home planet and the ‘mechanisms by which certain aspects of scientific knowledge are digested, appropriated and subsequently manifest within the general human complex’. Christopher Francis Schiel’s dry, functional narration brings a network of ideas about our existence into focus, while Hamilton’s visual tableaux, as an extension of his multifaceted practice, veer imaginatively between psychedelic imagery and performance art.