Knock Down

On a golden afternoon, wildly curious young Alice tumbles into the burrow and enters the merry, madcap world of Wonderland full of whimsical escapades.

Based on the Chilean "Riot Dog" Negro Matapacos. A stray dog meets young protester María. Together they radicalize until María has to go to jail. When she gets out her courage has left. But then finds out that the dog got famous during the protests.

Capturing life through the lens of a dream, Albert explores the evocation of the subconscious mind through the vivid visualism and dynamism of images.

Momo is a young orphan girl who lives in the ruins of an old Roman amphitheater and becomes friends with everybody in the neighborhood. But when a powerful international corporation starts stealing everybody’s time, nobody has any time left for her, let alone their friends or families. Momo, together with Master Hora, the custodian of time, are the only ones who can go up against the time thieves before all is lost forever.

A man complains about the tedium of routine. It seems that he has no power of decision or action.

Reynivellir is a representation of the transit that is generated when approaching the art work, described with visual games that can well be evoked by the same brain when witnessing the impossible figures of Jose María Yturralde. Reynivellir is also a beach in a country that is a musical sonnet, and this is so because the mental image does not always connect the articulated parts of a sensation, it is systematic, but aleatory, and it is from these notions of the field of observation, that it approaches and moves away from understanding, linking and unlinking forms, movements, sounds, sensations and knowledge.

This isn’t a film. It’s a leaked ritual. Somewhere between analog prayer and digital disease, a collection of gestures tried to become human again. They failed. Children orbit the fence like insects around an electric hymn. A figure holds a violin but never plays — his silence is louder than the sound. The man in the branches hasn’t fallen in years. The killer appears, or doesn’t — but you’ll feel him beneath the cuts, mouthing things you’ll wish you didn’t understand. There are bodies, sometimes clothed in flesh, sometimes not. There is scripture, mangled and reversed — not to mock it, but to unlock it. The voice speaks, but only when you stop listening. This is the place where lost footage remembers you. Where noise prays back. CHOKE ECHO was compiled under duress by 0xHamza in 2025 using material never meant to be rearranged. Watch it if you must — but it will keep watching after you close the tab.

Colourful lines and geometric figures move and change to the notes of a disjointed Wilhelmus [Dutch national anthem]. As the film progresses the disjointed music finds its way back to the original and flowing performance of the national anthem. The colours and figures move simultaneously into the shape and the tricolour of the Dutch flag.

The Hypergaussian Wars is an AI-generated feature-length audiovisual work exploring algorithmic warfare, obsolete media and the transformation of images through repetition, saturation and collapse. Built from thousands of generated images, synthetic landscapes and references to 14th–16th century painting, the film stages a continuous conflict between historical visual culture and contemporary computational systems. Fragments of obsolete video games, ruined architectures, military simulations and post-human figures circulate through increasingly unstable environments. Rather than telling a linear story, the film operates as an image system in which visual excess progressively erodes meaning. The Hypergaussian Wars reflects on memory, obsolescence, artificial intelligence and the persistence of images after their original function has disappeared.

A comfortable rhythm composed of light and shadow. Director Ogino-style absolute movie which freely manipulates geometric figures.

American cartoons are the starting point for Martin Arnold's new work. Sequences of short films form the basis of a process of fragmentation, deconstruction, dismantling and repetition. Arnold uses fun, family entertainment to create films with open-ended possibilities for association. His pieces, such as Hydra (2013), Charon (2013), Nix (2013) and Self Control (2011), feature characters whose anatomy is no longer recognizable as such, but rather resemble puppets, remotely controlled from the outside. Trembling hands, dancing tongues, blinking eyes and snoring mouths move like ghosts against an abyss-like deep black background, in which bodily elements constantly disappear, only to reappear once more.

American cartoons are the starting point for Martin Arnold's new work. Sequences of short films form the basis of a process of fragmentation, deconstruction, dismantling and repetition. Arnold uses fun, family entertainment to create films with open-ended possibilities for association. His pieces, such as Hydra (2013), Charon (2013), Nix (2013) and Self Control (2011), feature characters whose anatomy is no longer recognizable as such, but rather resemble puppets, remotely controlled from the outside. Trembling hands, dancing tongues, blinking eyes and snoring mouths move like ghosts against an abyss-like deep black background, in which bodily elements constantly disappear, only to reappear once more.

American cartoons are the starting point for Martin Arnold's new work. Sequences of short films form the basis of a process of fragmentation, deconstruction, dismantling and repetition. Arnold uses fun, family entertainment to create films with open-ended possibilities for association. His pieces, such as Hydra (2013), Charon (2013), Nix (2013) and Self Control (2011), feature characters whose anatomy is no longer recognizable as such, but rather resemble puppets, remotely controlled from the outside. Trembling hands, dancing tongues, blinking eyes and snoring mouths move like ghosts against an abyss-like deep black background, in which bodily elements constantly disappear, only to reappear once more.

Il malatino

Drawing on rare performances, interviews, animations, and experimental film, this documentary surveys the formative years of electronic music from 1948 to 1980. Featuring pioneering composers and inventors—including Milton Babbitt and Leon Theremin—the film explores the experimental technologies, academic laboratories, and creative struggles that shaped the early evolution of electronic sound.

In the midst of the frenzy night a man finds himself lost in the crevasse of time. It was not the grotesque beings nor the monsters, but it was he who “was here, but wasn't here”. He was the phantom. Buried under memories full of inhibition and promises that never kept – words washed up on the shore – time keeps him at a distance from the “place”. And he hears poems coming on the waves from the other side rhyming and lapping against the shore. A 360° scope video Installation commissioned by Nagano Art Museum.

Experimental cartoon which unites various techniques: puppets, sand & water (ebru) animations. About friendship, love and necessity to pay attention not only to the visual appeal.

The first and—paradoxically—the final part of the triptych. The city, which is its subject, grows not only in space but, most importantly, in time. With all consequences.

Navigating the depths of sorrow following a relative's heart-wrenching diagnosis and a spate of school shootings across the U.S.A., multidisciplinary artist Jeffrey Delano Davis seeks solace and rediscovery through the art of Digital Automatic Writing. This innovative practice transcends traditional journaling and seamlessly blends drawing, sketching, and animation as Davis pours his emotions onto the tablet.

3 generations, 3 narrations, 3 different points of view. A dance of generations.