Intermittent Delight

The film was made in one take over a period of four hours, using a manual time-lapse facility on a Sony PD170 DV Camera. It was shot up in the Faroe Islands whilst looking down onto the small village of Tjornuvík. The voice over is an ode to Andrew Kötting's dead father, which was written and recorded earlier in the morning in one of the small Faroese crofts that the camera looks down upon.

An experimental film that explores loneliness and depression in a brash and colourful way.

A trip to the darkest realms of the subconscious, where there may be no escape.

2012 French documentary where the interviewer gets 6 seemingly random women to empty their handbags and then asks probing questions to get to their "soul". Simone 33, a model. Ilhem 36, a sports coach. Caroline 33, a curator. Anne-Sophie 29, a press attache. Catherine 43, a teacher. Valentina 23, a student. French with English sub-titles.

The film is about looking. I bet that slight variations of few recurrent elements would encourage the viewer to free associate and to fantasize a kind of narrative. - BM

Set in Uzumasa, Kyoto, Shoji Hyakkan lives with his wife and kid happily. He then begins to build a house held together by magnets. One night, Koji steals and kills a cow, to use its cowhide as decoration wall material for his magnet house. By chance, Police Officer Kobayakawa happens to see what Shoji Hyakkan is doing. Police Officer Kobayakawa then offers Shoji a deal. (c) Asianwiki

Taking its title from the poem by Wallace Stevens, the film is composed of a series of attempts at looking and being looked at. Beginning as a city state commission under the name and attitude of “Unschool”, the film became a kaleidoscope of the experiences, questions and wonders of a couple of high school students after a year of experiences with filmmaker Ana Vaz questioning what cinema can be. Here, the camera becomes an instrument of inquiry, a pencil, a song.

Charcoal animation, taken from from Point of View: An Anthology of the Moving Image (2003).

A three-channel video installation, working with the themes of risk, hybridity and the unfathomable to explore the city of New Orleans through the remarkable life and times of Charles “Buddy” Bolden, the first person known to have explored the sonic tonalities of the music we now call jazz.

Waking up in a locked room, a prisoner must overcome their personal demons in order to move on from heartache and earn their freedom.

An experimental short film about the depressive scenery of Eastern European winter

Bela

Restore the classical definition of planet! Bring back planet Pluto! The solar system is twelve!

Journalist Dermi Azevedo has never stopped fighting for human rights and now, three decades after the end of the military dictatorship in Brazil, he's witnessing the return of those same practices.

A film which, by the use of a simple camera movement, explores and reviews some relationships to the ground. The viewpoint continuously orbits places, objects, people and events. The observations gradually speed up to reveal a double sided ground flipping like a tossed coin, then slow again to oscillate about the earths edge.

“The Occidental Hotel is a “city” film—I was inspired to emulate the Surrealists’ sense of wandering, of flaneury, of the way a hotel and its rooms is a temporary resting place inhabited by many many people, a shared public/private space. I am interested in a creative geography of the city I've constructed. For instance, the front of the hotel is from Berlin, its interior was photographed in Copenhagen. The film offers the elliptical “scent” of espionage films (largely because of its Berlin locations) and offers that genre’s lubricating sense of voyeurism, danger, and sexuality. My source materials are Mexican comic-book figures, and these urban photos I snapped on my honeymoon with my wife Janie Geiser in the summer of 1996.” —Lewis Klahr

Vi.sion is the product of an encounter between an expanding ballet troupe and an abandoned school with a marvelous theater, which was to be demolished to make way for a parking lot. It is the home of a place, imbued with memories of a rich and proud past, by the footsteps of a young troop. The time is getting confused. The present and the past blend together and it is the old school that dances with the passion and passion of young dancers. Ghosts, shadows, specters ... They bewitch.

The starting point of this film was a set of 35mm trailers acquired from various abandoned cinemas. This work reveals the veiled and forgotten images used by the commercial film industry.

An abstract work featuring three dancers, the performers interact with large screens as well as each other. Included in Shirley Clarke’s Four Journeys Into Mystic Time, costuming and color play an integral role in this piece.

The film takes us through the working day of protagonists, factory workers. Their basic working tool is their body, ready to execute strenuous manual tasks. Day after day the same story, the same faces, the same spaces, the same tasks. Feeling confined, they seek a sheet anchor, a way out, an escape. They venture into the unknown, dance, drift and float in the air.