Beyond the Moonlight

An Art and a Short Film in which the director records his childhood experiences and memories through the mischievous activities of a boy named Mohammad Saadh.

A wealthy woman from Manhattan's Upper East Side struggles to deal with her new identity and her sexuality after her husband of 16 years leaves her for a younger woman.

"We follow Detective Rodriguez on a case that will take him to new and abstract places and feelings"

The film tells a story of Mariana, a nurse who leaves Lisbon to accompany an immigrant worker in a comatose sleep on his trip home to Cape Verde. The devoted Portuguese nurse took a journey only to find herself lost in abstract drama.

A creation myth realized in light, patterns, images superimposed, rapid cutting, and silence. A black screen, then streaks of light, then an explosion of color and squiggles and happenstance. Next, images of small circles emerge then of the Sun. Images of our Earth appear, woods, a part of a body, a nude woman perhaps giving birth. Imagery evokes movement across time. Part of the Dog Star Man series of experimental films.

Number Two’ is an audio visual work which materializes the definite possibilities of sight and the existence of light in space with the drama in between image and sound as a reaction . It treats the surface of the film itself as a digital artefact that forms an image with a human intervention .It can be seen as an enlargement of a moment in time where form and space breaks inside an indefinite reality .

A political assassination leads to division and chaos.

Isaac travels to Mount Moriah with his father to make a sacrifice to God.

On a bleak island where monolithic concrete buildings rise above the windswept horizon lies work-colony #191286. Piwonka is one of a handful of migrant workers who are forced to work here under harsh conditions. He has been estranged for two months from his beloved wife when a fatal incident at the main drilling-tower occurs. Piwonka has a recurring dream of his wife where it feels like she's trying to communicate with him, to warn him perhaps, or guide his way.

A Experimental Docu-Drama about the Red Army Faction's formation, and events leading up to their imprisonment and death, from 1970 to 1977.

The journey before the inevitable, the clock starts ticking, life begins and ends.

Thomas, 70, looks back on the last evening he and his lost friend Mari spent together. An evening in which they drink wine, dine, listen to piano playing and dance with their girlfriends. As the hours pass before his eyes, Thomas contemplates the lost friendship, the person Mari was and the conversations of that night.

A journey through the unconscious of the central character, who visits, in past colors, important signs of his life.

mens·beeld (het; o; meervoud: mensbeelden) A "Mensbeeld" is a well-thought-out and coherent representation of what it means to be human. Human images are linked to (historically determined) philosophical, philosophical or religious convictions.

The fan's self-sacrificing blades dance in the air, generating a refreshing breeze that wipes away the sweat of others and brings solace on a scorching day.

A boy dreams about a girl who he is in love with.

A depressed man contemplates the imminent end of the world.

An abstract, experimental, personal reappraisal of experiences and crises - the project was the result of an experiment.

An abstract artist promises to deliver twenty five paintings to an art gallery. As he fights for his creative spark and deadlines loom, he feels his world around him crumble away.

“Leda + Swans” depicts an infernal, mythic birth of cinema, dredging the violence and horror from Wallace McCutcheon’s comic short film “Photographing a Female Crook” (1904). Leda, who may or may not be a falsely accused young woman, is brought in for a mugshot by two officers. She first attempts to avoid the camera’s gaze, and, when overpowered and manhandled, contorts her face to ruin the photograph. However, her small rebellion proves futile; she was already being recorded, objectified, mapped, and co-opted by the Godhead of the director. As her body and image are repurposed and transmuted ad infinitum, the filmic universe also explodes into a supernova. What is born out of this suffering and manipulation is another example of our sublime medium and modern muse. She will not be last the Leda, and she may not even be the first. Who is the guilty party here? Is beauty a chimera in traditional cinema? Has the ephemeral cinema of the attractions and distractions era gone anywhere?