Max Ernst, Une Semaine de Bonte

While their mother is dying in the modern Gimli, Manitoba hospital, two young children are told an important tale by their Icelandic grandmother about Einar the lonely, his friend Gunnar, and the angelic Snjofrieder in a Gimli of old.

In the hyperkinetic multichannel video installation Devil’s Peak, Simon Liu surveys the psychogeography of Hong Kong as a feverish dreamscape, activating charged sites of recent civic upheaval, personal heritage, and postcolonial legacies.

An experimental "immersive environment" created by Char Davies.

Two co-workers, one a vain woman and the other an awkward teenager, share an increasingly bizarre relationship after becoming roommates.

The story tracks the unhealthy and abusive relationship between an unnamed man and his wife in the days following his return to north eastern Tangshan. He's coming back to her as a wanted fugitive for a series of rapes and murders.

Optically printed fragments of film I shot in the autumn months in Seattle. -JB This film was made in response to seeing some of Caryn Clines films. Caryn re introduced me to shooting my films outside. -JB

A portrait of Madrid's summer

This work is one film of the omnibus ‘Seeing’. About ‘Seeing’: “Filmmaker Matsumoto Toshio, a pioneer of experimental film in Japan and an advocate of Neo-Documentarism since the 1960s, conceived and structured this omnibus film, directed by six experimental filmmakers. Based on the theme of ‘seeing’, proposed by Matsumoto, the six directors approach the subject from varying individual perspective and develop their own unique images. The film addresses fundamental questions: What does it mean to ‘see’ things, and What does it mean to ‘make films’?” (from the official catalog of Yamagata International Documentary Film Festival 2009)

Nihilistic cousins explore the secret deadly language of a folie à deux relationship in a Brexit environment of racism and illusion.

The veneer of the story is a tale of chance love: two French expatriates strike up a chance romance when they meet on a ship headed back to South America.

Images that take the viewer to the sea, before dark.

A surrealist saga in four parts: 1.) The credit sequence in which title cards show successively larger foetuses pulsating on the screen until the baby is born and cries. 2.) Etoile-directly referring to Cocteau, Lethem shows an adolescent sucking a starfish and then giving birth to a smaller starfish. A statement of inadequacy. To give birth involves an emasculation and a loss of vitality. 3.) Corps-two images of a man on a couch groping for each other, watched by a mysterious peeping Tom. As the two superimposed images come together, the heavy breathing subsides…the statement that the birth of desire is a self – realisation. 4.) Hymen – The decaying body of a girl is shot through green filters, and the final image reveals her vagina crawling with maggots and overlain with a crucifix. A representation of Catholicism preventing the free expression of desire.

An experiment in visual perception in which a witch becomes a girl, and then returns to being a witch.

Someone we hear talking - but whom we do not see - speaks of a project which describes the four key moments of love: meeting, physical passion, arguments/separation and making up. This project is to be told through three couples: young, adult and old. We do not know if the project is for a play, a film, a novel or an opera. The author of the project is always accompanied by a kind of servant. Meanwhile, two years earlier, an American civil servant meets with an elderly French couple who had fought in the Resistance during World War II, brokering a deal with a Hollywood director to buy the rights to tell their story. The members of the old couple's family discuss heatedly questions of nation, memory and history.

This abstract video art piece was made for the purposes of being a backdrop to a semi-improvisational three person dance piece and live spoken word monologue in collaboration with other artists of various fields. Blurring the line between tradition and creating something new- this work looks at the evolution of artistic practice. Hazy visuals enter the process of creative ideas with such art forms as dancing, drawing, and photography. At an audio standpoint, the score goes through a similar creation by being a recording of a guitar pluck being altered into an atmospheric synth and overlaid with field recordings of art making. The piece takes into account the various ideas and thoughts that go into artistry, and lead the viewer from the traditional aspects of preparation and through to the breaking of tradition to create something unique and personal to the artist.

A tragic story of a musician taking a bold voyage in the pursuit of creation, ambition, and need. Letting life choose for him, as part of the art itself and coming to terms with his decisions.

Something takes us underground, where gods and monsters are active, amid the ruins of a world they move around with their innumerable hands. Inspired by Fritz Lang and Richard Wagner, Remains is a daydream.

Filmed in Rome in the 1980s, the work draws on Borromini’s Baroque architecture and Il Sassetta’s St. Martin and the Beggar. Beavers contrasts winter’s subdued light with the verdant growth of spring, constructing a precise montage in which image and sound form a poetic dialogue.

Interweaving stonework and filmmaking, Beavers evokes memory through hammer strokes and chisel sounds that shape both image and rhythm. In this dialogue of repetition and variation, the film carves out a space where emptiness itself gains form, allowing vision beyond sight.

Voz