The Road

A film in which the roles of angler and bait appear to be eerily reversed.

A cautionary tale about sticking your nose where it doesn't belong.

A boy playing in his backyard discovers he is not alone. One of four films selected for Mars’ “Bite Size Horror“ Halloween campaign.

A guy is obsessed with scaring his grandmother...

Thers's something in the morror!

The untold state of mind dealing with an incurable disease. One is wondering if there's still a dream to achieve in life. One is running as if this free spirit of mine has never been taken away.

Toys on Fire

Coup de coeur

2ⁿ is a story about the exponential growth of numbers raised to powers. Part of the Mathematica Peep Shows, one of five films made to accompany the Mathematica: A World of Numbers and Beyond exhibition at the California Museum of Science and Industry and the Museum of Science and Industry in Chicago.

Gail's in trouble. Can Gary reach her in time?

This film is an exercise made for the Academia Internacional de Cinema "creativity process" class using archive footage and editing to create relation between images to convey a message. In May 2019 brazillian pro-government protesters ripped the banner "In Defense of the Education" from Federal University of Paraná , placed by activists in favor of public education and against the curtailment of expenditures of the Ministry of Education, which blocked 30% of the discretionary funds of universities and federal institutes.

Short found-footage film by Danilo Torre.

A feedback driven experimental digital animation by Andrew Benson.

3D Eternalism film by Ken Jacobs

Oasissy’s oeuvre transcends onto the silver screen with a cinematic debut that defies genre, deftly blending their subtle tribute to Oasis with an unbridled passion for Céline Sciamma's masterpiece, Portrait of a Lady on Fire. Oasissy are a spoof, drag king, Oasis tribute act who have performed all over the UK, on the streets, in cabarets and on screens.

This found 8mm film of underwater ballet has a red rust effect flowing through it like living fire.

A series of numbers that form infamous years that are uttered in a repetitive pedagogical litany. Ominous dates as a correlate of forgotten apolitical portraits. Portraits of a remembered royalty whose wealth was made possible by infamous times. Political faces accompanied by their corresponding dates. Peaceful figures whose placid portrait rests on the automated civilizational barbarism. This is part of the educational film cycle.

Jimmy is a teenage boy who has become increasingly reliant on social media for social interaction. He finds himself feeling lonely and shy, unable to approach girls in person or online. As the film progresses, Jimmy slowly discovers the power of real relationships and the importance of taking risks to turn his life around.

A middle-aged black man is falsely hailed by a passerby: “Hi, Gary!” He stops and turns. “How’s it going?” The camera takes in another careful, evenly lit shot of the man as he frowns and delivers his line with actorly gravitas: “I’m not Gary.”

Soleil Cou Coupé