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Pedro is Mallorcan, born to a mother from Burgos and a father from Mallorca. Due to his distant relationship with his father, Pedro doesn't fully master Mallorcan as a language. He turns to the works of Damià Huguet to remember his father, as only his poems can fill the void left by his death. The poet's words transport Pedro to his childhood and his roots, even though many of the words are unknown to him, despite them belonging to his language. This becomes the driving force behind the protagonist's search for his own identity, his origins, what it means to be a man, father-son relationships, collective identity, and "mallorquinness". Pedro constantly questions the emotions stirred by Huguet's poetry, and, most importantly, who he is and where he belongs.

An investigation about human intervention in nature, from the subjective point of view of the camera, the environment and its transformation are observed.

Documentary with fragments and records about the boundaries between art and counterculture, based on a debate held at the Museum of Modern Art, Rio de Janeiro, in October 1968.

Several fragments of one day in Leningrad in the autumn of 1989, refracted in the imagination of the artist.

Beijing

A day in the city of Berlin, which experienced an industrial boom in the 1920s, and still provides an insight into the living and working conditions at that time. Germany had just recovered a little from the worst consequences of the First World War, the great economic crisis was still a few years away and Hitler was not yet an issue at the time.

A patient camera glides over the everyday objects: still lives on the wall, flowers in the vase, a swaying drop light. The sun enters the cosy home where Noëlla sits smoking at her laptop, playing Solitaire. The situation is hopeless. She’s going to lose against the computer once again. All the while her son-in-law, Pierre, is organising everything she needs, pragmatic and friendly: breakfast, the (last) doctor’s visit – and then the transfer.

“Persistencies of Sadness & Still Days”, is a four hour feature film by Maximilian Le Cain and Rouzbeh Rashidi. Structured in two sections or ‘takes’ of two hours each, this dream-like, experimental project offers two complementary explorations of cinematic form that skirt around possible narratives, ducking through a series of fluctuating audio-visual categories and intensities.

Two instants separated by 99 days conflict with each other.

Experimental video art compiled from video taken on an LG Env3 flip phone circa 2009-2010

Experimental self portrait

A funeral car cruises the streets of Medellín, while a young director tells the story of his past in this violent and conservative city. He remembers the pre-production of his first film, a Class-B movie with ghosts. The young queer scene of Medellín is casted for the film, but the main protagonist dies of a heroin overdose at the age of 21, just like many friends of the director. Anhell69 explores the dreams, doubts and fears of an annihilated generation, and the struggle to carry on making cinema.

Experimental video art shot in the Wallingford neighborhood of Seattle

"Ad Vice consists of a succession of colored projection surfaces with segments of text from the worlds of advertising, sport and popular culture." - Anita De Groot

In this meditation on contemporary race relations, two black men discuss in voiceover certain “casual” events in life and cinema that are unnoticed or discounted by whites—gestures, hesitations, stares, off-the-cuff remarks, jokes—details of an ideology of repressed racism.

This engaged reading of the urban black riots of the 1960s references Guy Debord’s Situationist text, “The Decline and Fall of the Spectacle-Commodity Economy,” Internationale Situationniste #10 (March 1966). Along with additional commentary adapted from Barbara Kruger and musicians Morrissey and Skinny Puppy, the text posits rioting as a refusal to participate in the logic of capital and an attempt to de-fetishize the commodity through theft and gift. Cokes asks, “How do people make history under conditions pre-established to dissuade them from intervening in it?”

A documentary short created by Olivia Lancaster while moving into a new home, 08/31/23.

The innovative and influential British filmmaker Derek Jarman was invited to direct the Pet Shop Boys' 1989 tour. This film is a series of iconoclastic images he created for the background projections. Stunning, specially shot sequences (featuring actors, the Pet Shop Boys, and friends of Jarman) contrast with documentary montages of nature, all skillfully edited to music tracks.

From Angry Bible Thumpers to Infamous Hall H Lines, This is an Appropriated Video Essay Covering the Negative Changes that San Diego Comic Con Has Gone Through This Passed Decade Alone.

The film is a trip to the planet Muscovy - an upside-down twin city of Moscow in space. As the title of the work suggests, the journey also takes us back in time. Gliding over the surface of the planet, we look down and see historic architectural styles fly by - the exuberant Socialist Classicism, aka Stalinist Empire, the austere and brutish Soviet Modernism, and the hodgepodge of contemporary knock-offs and revivals of the styles of the past. An essential companion to this journey through time and space are Hymnic Variations on the Soviet anthem.