A Stone Story
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.
MiniDV visions portraying the anguish of a curious artist who becomes obsessed with replicating images of a woman he sees in his dreams.
A Short Film focusing on the urge to escape from the rabbit hole of depression
The gaze in autocorrelation.
Body - Earth
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'.
Recortes - 20240315
Vídeo de Um Minuto
À TOA
ENFERMO
In 1975, as America faced social and political upheaval, filmmakers turned chaos into art.
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.
Protective Coloration shows Fisher seated at a mottled table. He wears short-sleeved hospital garb, surgical green ‘scrubs’. Nose-clips block his nostrils while a mouth-guard that looks like fake lips covers his mouth. Over the course of 11 minutes he masks his face and covers his hands with bright gear in colours that accumulate to resemble those of the standard reference chart: he puts on orange eye-caps, then a yellow bathing cap; covering his nose and mouth and the gear already there, he dons a black gas mask; a silky black sleeping mask voids his already covered eyes, a cyan blue bathing cap caps the yellow; yellow rubber gloves snap on his hands and forearms; puts on cyan eye goggles, then struggles with yet another bathing cap, hazmat orange, over the other two. A silvery transparent shower cap tops the caps, itself topped by a plastic green helmet. Finally heavy-duty magenta gloves hide most of the yellow rubber. Preserved by the Academy Film Archive in 2008.
Shot in black and white, Invisible merges performance art and personal documentary to reflect personal and shared experiences during the military coup. Set in an abandoned building where many young revolutionists sought refuge, the seemingly invisible experiences of displacement, loss, suffering and anger are made visible through words and subtle movements.
Informed by Taoist notions on the flow of nature, Freedom of Clouds is an experimental audiovisual poem composed of two visual languages which shift in tandem with the sonic landscape. The first involves abstract audio-reactive particles imitating the movement of dust, while the second is composed of Myanmar’s urban scenes which blur and morph as the piece moves away from form and definition.
Set against an operatic soundscape, period@period is a sensual interplay of sound and image that focuses on the anonymous protagonist’s monthly period and the rituals associated with it.
In the midst of a casual setup, Aleck and Kirby get caught in a complex web of emotions as their relationship blossoms into something more, questioning their notions of intimacy and the boundaries they previously set.
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."