4'33" The Movie

Cut-out animation alternated with text collages.

Minotavr II

An intimate look into the life of composer Mikis Theodorakis from 1987 until 2017: comprising three decades, four continents, 100 locations and 600 hours of film material. The film interweaves personal moments with archive footage, documentary recordings and fictional pieces, all accompanied by Theodorakis’ music in jazz, classic, electro and rap versions.

Two teenage girls embark on a series of destructive pranks in which they consume and destroy the world around them.

Global Groove was a collaborative piece by Nam June Paik and John Godfrey. Paik, amongst other artists who shared the same vision in the 1960s, saw the potential in the television beyond it being a one-sided medium to present programs and commercials. Instead, he saw it more as a place to facilitate a free flow of information exchange. He wanted to strip away the limitations from copyright system and network restrictions and bring in a new TV culture where information could be accessed inexpensively and conveniently. The full length of the piece ran 28 minutes and was first broadcasted in January 30, 1974 on WNET.

The death of the minotavr talks about the concept of the heroine's journey. Suffering, horror and exhaustion lead the protagonist to a process of transformation, abyss and expiation, because only murdering to minotaur and everything he represents is possible to return to life. From the female gaze, it shows the depth of the emotional wounds caused by domestic violence; the same one that the surrealist Dora Maar lived and that ask why, as a society, instead of killing the minotaur, we blindly continue to send him women only to be devoured and ask them why they simply did not fight, why they did not try get out of the labyrinth.

A dance of eclectic objects. A play of demented dolls, wheels, and geriatric clocks.

RiP!: A Remix Manifesto is a 2008 open source documentary film about the "the changing concept of copyright" directed by Brett Gaylor.

Baldwin’s “pseudo-pseudo-documentary” presents a factual chronicle of US intervention in Latin America in the form of the ultimate conspiracy theory, combining covert action, environmental catastrophe, space aliens, cattle mutilations, killer bees, religious prophecy, doomsday diatribes, and just about every other crackpot theory broadcast through the dentures of the modern paranoiac.

10/26

Timo Novotny labels his new project an experimental music documentary film, in a remix of the celebrated film Megacities (1997), a visually refined essay on the hidden faces of several world "megacities" by leading Austrian documentarist Michael Glawogger. Novotny complements 30 % of material taken straight from the film (and re-edited) with 70 % as yet unseen footage in which he blends original shots unused by Glawogger with his own sequences (shot by Megacities cameraman Wolfgang Thaler) from Tokyo. Alongside the Japanese metropolis, Life in Loops takes us right into the atmosphere of Mexico City, New York, Moscow and Bombay. This electrifying combination of fascinating film images and an equally compelling soundtrack from Sofa Surfers sets us off on a stunning audiovisual adventure across the continents. The film also makes an original contribution to the discussion on new trends in documentary filmmaking.

Selbstportrait 1

A visual poetic collage and a place of joy. Awaiting the decision from here to there.

An accurate depiction of the basic tenets of northern Mahayana Buddhism, cast into living or "experiential" form, consistent with powerful mantras heard on the soundtrack of the film. Tarthang Tulku, a Tibetan Lama, was the advisor.

In this motion picture Ron finds his self on the run right before he's goes to collage in a cop involved shooting witch sends him into hiding for 8 dayz

You Are Here draws on a rich archive of movies set in New York, combining thousands of cinematic moments across 16 screens. Sources include Hollywood blockbusters, independent films, documentaries, and experimental works. By juxtaposing these multiple visions, the dazzling montages of You Are Here make connections and contrasts that allow movies to comment on each other across time and space. Together, they shed new light on the varied New Yorks of our collective imagination.

A compact, full-color cut-out animation as ephemeral as the colors swimming on the surface of a soap bubble. The eternal round shape, the orb (sun, moon, symbol of the whole self) balloons its inimitable and joyous course through scene after scene of celestial delight, fixing at last as the mystical globe encasing the lovers whose course it has paralleled throughout the film.

We are first presented a cobweb castle, filled with the haunting doubts of the young protagonist. Spirits appear on the screen and are heard on the soundtrack. Gradually a female guide emerges and escorts the young man into an antechamber to another (and possibly higher) world.

For the first time I am animating hand-painted engraved cut-outs on a full-color background. The film is mood-filled: A duel scene in a snowy forest, obviously the morning after a masquerade ball. Harlequin lies dying, while Red Indian walks away with the wings of victory. The woman between them appears, cat-masked. The mask dissolves away. Her spirit passes into the face of the sun upon the sun upon the sun flower. But Harlequin cannot escape death. The blue world engulfs him.

Did we get disconnected? Bad Connection is a constructed dreamscape where pay phones exist in the desert, and an anonymous woman tries to reach another. Searching manifests in the ringing of the telephone that is left unanswered.