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One night, a supernatural figure emerges from the darkness to find a human who is grieving the death of his mother. As the figure watches closely, it soon discovers the value of human love and its strength to bring people together.

After his mother's death, a young man edits the family's home videos to bring back her image. As he delves into the occult he begins to reveal the paradoxical magic of memories and cinema.

Writes Ando, "Oh! My Mother was the first work I made using a newly bought 16mm camera I had purchased with the writer Shuji Terayama in Paris. This piece was selected for the Oberhausen International Film Festival. In 1969, there were, of course, no video cameras like ones we see now, and color TVs were only found at broadcast television studios. I had just been employed at the TBS (Tokyo Broadcasting System), and I often snuck into the studios after hours to experiment with the equipment. Oh! My Mother was made using the feedback effect, which is produced by infinitely expanding the image by looping the video."

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.

Ocean was a girl and now just a paper head. Her brother reminisces the times they shared during their childhood, a sorry experience that birthed emotional scars.

Exploring love's complexities, an experimental film captures a woman's brief yet significant journey, prompting her to break free and embrace newfound liberation

The Garden is an experimental work that describes the inner worlds of two sisters manifested through their connection with the garden outside their home. While mourning the passing of their close relative, the sisters encounter a man in the garden, evoking a sense of mortality in one and awakening the sensuality in another. The film was directed by Ong Ann Meng (better known as Meng Ong), who went on to win numerous awards for his short films at the Singapore International Film Festival between 1991 and 1993. His first feature, Miss Wonton (2001), won the FIPRESCI Prize at the Locarno International Film Festival.

Misha, Dalton, Jaxon, Hamlet, and David are young aspiring actors who move to Hollywood to follow their dream, but wind up testing their fate with consequences beyond their wildest imagination. Each of the actors have been hand picked by 'The Master'. A dark, mysterious teacher who promises to teach them the ultimate secret to success. Without knowing it, the young faithful dreamers are set to the test of their lives. They are hypnotized, mentally and physically abused and brainwashed as The Master slowly steals away any human instinct and empathy from them and applies a strange animal behavior instead. He calls it his unique acting technique. But in spite of all their hopes, dreams and aspirations The Master is never planning on giving them the secret to success. He has his own dark agenda. He is the hungry wolf in the jungle waiting for the right moment to prey on little girls. Just like the fairy tale of 'Little Red Riding Hood'.

A collage storybook retelling of the Jesus Christ story with Digital, Super 8, 16MM, and VHS, primarily set within a decaying and run-down world and divided into three acts. Accompanying the film's images is distilled church music provided by various noise artists. This is the first feature film from Los Angeles experimental filmmaker Case Esparros and was released in 2019.

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.

After escaping from her homeland and now abandoned by the man she loves, Medea must find strength from within to fight against growing injustice - how far is she willing to go?

A woman on the run from the mob is reluctantly accepted in a small Colorado community in exchange for labor, but when a search visits the town, she learns that their support has a price.

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

A tale of people unfolds under the night sky. These doomed couples and lost individuals begin journeys and attempt to find resolution in their lives. Love is observed from a distance, sadness is in the air. With little sympathy for the loss and destruction caused to the characters, the stories progress and become neatly woven into a minimalistic portrayal of modern life.

A dying man in his forties recalls his childhood, his mother, the war and personal moments that tell of and juxtapose pivotal moments in Soviet history with daily life.

An exiled magician finds an opportunity for revenge against his enemies muted when his daughter and the son of his chief enemy fall in love in this uniquely structured retelling of the 'The Tempest'.

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.

Three stories. Three ages. Three men. Grandfather, father, son. One is an orderly, one is a leading sportsman, and one is a master taxidermist. One desires love, the other success, and the third immortality.

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.

After the end of a relationship, a young Belgian woman remains alone in an isolated house and turns silence, repetition, and solitude into forms of existence and resistance to forgetting.