The Infinite Mercy Film

This is an experimental film featuring an allegorical audiovisual symphony of image, text (excerpts from works by Proust and verses from Rilke’s poetry) and music through the use of archival photographs taken from Illustration Magazine. It focuses on the urban establishment and links the wave of Western colonization to the period right before the Great War (1914-1918).

Shot on 16mm film in New York and composed in Berlin, the work explores polarizing themes of the metropolis. Audibly and visually, the viewer is put in a flicker between serenity and intensity; harrowing ambience cut with sharp beeps, vulnerable steps mashed in high velocity.

Short experimental 16mm film.

Heartbeat

A Schmelzdahin short wherein a print of a portion of Nosferatu (including the iconic shot of the vampire on the boat) has been degraded and abstracted through the bacterialogical decomposition, disintegration, and chemical processes Schmelzdahin would use.

Eye-popping digital moving image work with an equally arresting soundtrack from noise music heavies.

ABLAZE premiered at the 27th Singapore Film Festival, November 24, 2016

Part of the larger filmic Four Journeys Into Mystic Time, in this work director Shirley Clarke makes use of a dancer’s body not only as the primary performer, but also as a canvas on which to paint projected images. Further enhanced by editing and effective use of shadows, the film is a transformative experience.

Distorted found footage experiment of a firing squad sequence from a war film.

For us, a thought always presupposes a society, a culture and above all the consciousness of time. We are haunted by immortality, human notion par excellence. As if the world was here to fascinate us. And to disappoint us. The film travels around the bulb like the Earth around the Sun. Light makes the film visible. A fragile film, like our existence. In the orbit of the film tragedy and our reality, the image resists the cruelty of the experiment.

What kind of power is accessible through the discovery of a voice? Morgan Quaintance interlinks two anti-racist and anti-authoritarian liberation movements in South London and Chicago’s South Side with his own biography to explore what happens when speech is ignored, and the voice fades.

A documentary portrait of Utopia, loosely framed by Plato’s invocation of the lost continent of Atlantis in 360 BC and its re-resurrection via a 1970s science fiction pulp novel.

A cameraman wanders around with a camera slung over his shoulder, documenting urban life with dazzling inventiveness.

The discovery of a human torso thrown into a waterway, leads the viewer to observe the work of modern criminology and the task of special agents to track and record the psychopath's mentality through the elucidation of techniques present in the reality of the police investigation.

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.

Experimental film fragment made with the Edison-Dickson-Heise experimental horizontal-feed kinetograph camera and viewer, using 3/4-inch wide film.

Playtime’s cosmopolitan spectacle, presented in a kaleidoscopic montage across seven large screens, interconnects the lives of its archetypical characters—hedge fund managers and art world players in London; a photographer in Reykjavik; and a Filipina houseworker in Dubai—each of whom is based on a real-life individual directly affected by the market collapse.

"This tape is an exploration of my latent heterosexuality with porn star / performance artist Annie Sprinkle as instructor and sage. After assuaging my fears that I can have sex with a woman & still maintain my gay identity, Annie warms me up with some playful, sensual wrestling. She then instructs in the use of a tampon while relating men's need to make war with their inability to menstruate. For the rest of the tape, she guides me through the specifics of sexual exploration, positions of coital congress as well as post- coital ritual."

A heartbroken girl is pursued by a domineering female photographer, and her growing infatuation begins to blur the line of reality and fantasy.

Although Gainsbourg and Birkin had appeared in a string of films since their magnetic collision in Pierre Grimblat’s Slogan, Melody was a bit of diversion from their collaborations since it’s a series of interwoven videos inspired by the Gainsbourgalbum. For '71 it’s a novel concept to bring visual life to an LP, but even more surprising are the short film’s amazing visuals that director Averty crafted using a wealth of video filters, overlays, camera movements and chroma key effects. Averty applies these in tandem with the increasing tone of Gainsbourg’s songs, which more or less chronicle an older man's affair with a young girl. Each song is comprised of steady, sometimes brooding poetic delivery, with refrains timed to the phrase repeats of each song, while Alan Parker’s buzzing guitar accompanies and wiggles around Gainsbourg’s resonant voice. The bass is fat and groovy, the drums easy but steady, and the periodic use of strings or rich vibrato makes this short a sultry little gem.