A Thunderbolt for Michelle

Speak To Me Of What I Know is a short experimental film shot on a Super8. The idea of lack of communication is expressed through an intimate relationship, more specifically the men of the film. The themes of miscommunication develop throughout the film in many ways, even the slightest details are there with the explicit goal of adding to the main message. Pay attention to as much as you can, and build your idea of what it's all about. It remains up to interpretation.

Fede is a theater actress who, while putting on clown make-up for a show, thinks back to her relationship with her father: a relationship of tenderness, desire and hatred.

Ahmet, a Turkish guy in his early twenties visit his grandfather's abandoned mansion located somewhere in the northern Anatolia. Thinking that he would return to where he spent his early childhood, only to find out that the place is now in ruins. When he goes to sleep. An unexpected angel will visit him to give her a blessing of the truth. He wakes up being not the guy he was before.

A man and a woman talk on the phone and express their feelings and desires for each other for the first time. We watch as they listen to the other's admissions.

Maya excitedly leans into the joy of her first queer relationship, but must confront the seemingly never-ending sexualisation of her identity

Poetic, delicate, engaging. "Portrait de Rosa, à la française" gently draws you into this passionate love story, with a love text that fits well with the images of Rosa's smiling face. A narrative that recalls the “nouvelle vague” interpreted with today's eyes.

The process of depersonalization maintains a dialogue with the objectification of the body, a sort of thingified flesh, clothed in animosity. In an epiphanic act, the sutures reveal themselves as the reflection of this gaze upon its own spilled fluids and transcend into an internal soup. It is the stream of consciousness in its purest form. It is the raw and the bare. It is the visceral nature of facts. It is the merging of worlds. It is the flesh in turmoil.

A sleep paralyzed woman confronts her demons.

A man is confronted by parallel versions of himself as he contemplates his life choices.

Seeing himself as a form unable to experience intimacy, he is given the chance when brought to the household of twin sisters.

A Vida em Negativo

A woman, director of advertising films, catches the eye of a mysterious young woman dressed in white during an evening of dancing on the terrace of a bar and is fascinated by her.

Milk in its symbolic and ancestral dimension is the fulcrum of this short film. Primary source of female nourishment, abundance and life, milk flows, is drunk, steeps and nourishes. The woman-mother is its dispenser, the one who safeguards its vital power. The color of milk, however, also recalls male seminal fluid and the dimension of the sensual exchange between man and woman.

Three women leave for a beach holiday. The joy, the carefreeness of days on the beach, lunches on the terrace, lazy afternoons punctuate this "holiday film" which slowly reveals and builds the sensual and playful intimacy of the relationship that binds the protagonists/directors.

"What I tried to "tell" is Rosa's close and distorted relationship, common to many women who are used to living alone with themselves, with objects that have become animated and unreal and the relationship which is completely silent, but no less clear and explosive of Rosa with her feminine unconscious” (D. Maraini).

A lonely mime takes desperate measures in order to find the audience he deserves.

Fulano de Tal

Two generations dialogue through the images they filmed of their children, a reflection of the emotional bond that arises from their involvement with what was shot.

An experimental portrayal of being adrift in a daydream.

According to Scottish mythology Selkies are mythological beings capable of changing from seal to human form by shedding their skin. This film follows the story of such a creature who chooses the sea over her land dwelling sweetheart.