Mad About Being Mad

Begotten is the creation myth brought to life, the story of no less than the violent death of God and the (re)birth of nature on a barren earth.

Lines align during acclimated apexes, shadowy vertices, and bright burrows.

A non-narrative cine-essay that collaboratively explores the potentials for trans feminine representation in film.

Super 8 film transferred to HD video

Anônimo e incomum

The final 17 years of American singer and musician Karen Carpenter, performed almost entirely by modified Barbie dolls.

Prometheus, on an Odyssean journey, crosses the Brooklyn Bridge in search of the characters of his imagination. After meeting the Muse, he proceeds to the "forest." There, under an apple tree, he communes with his selves, represented by celebrated personages from the New York "underground scene" who appear as modern correlatives to the figures of Greek mythology. The filmmaker, who narrates the situations with a translation of Aeschylus' Prometheus Bound, finds the personalities of his characters to have a timeless universality.

Wax and wane until there is naught but boring pain.

A short treatise on the semiotics of capital, happiness, and phenomenology under the flickering neon of global capitalism.

"A fine fine example of spaces between existing as objects themselves. A patternistic and memorializing offering to natural totems. Two kinds of reversal at play involving black and white as well as reflection and overlap. These simple elements create a hurried maze of twisting antler branches, twigs, and dissected slices of pure “space.” I can hear the crackling fires, echoing elk calls and frosty despair…" - JT Rogstad, The International Exposition

WHAT YOU MEAN WE is a surreal short film by experimental artist Laurie Anderson.

Deconstructing and reconstructing Cree narrative, this film experiments with language to create a linguistic soundscape.

Using a 35mm strip of motion picture slug featuring the recently deceased American comedian Richard Pryor, this extended Rorschach assault on the eyes moves out of a flickering chaos created by incompatible film gauges into a punchline involving historically incompatible racial stereotypes.

The quietly insistent and critical DEPOSITIONS attempts to restore some dignity to images of the communities of the Scottish highlands taken from patronizing BBC documentaries and news features from the 70’s and 80’s. DEPOSITIONS repurposes footage from the archives of the BBC and sound from the School of Scottish Studies, it is a film about differences and dichotomies: science and superstition, near and far, community and the individual.

A series of portraits, made for Television, of four diverse individuals brought together through shared residence. These short films were filmed in the tenement where I lived for eight years. The first is shot in our bedroom, which doubled up as my former partner's office, the three others were shot in architecturally identitical spaces owned by my then neighbours. Shot and edited on a single 16mm bolex camera using available light throughout, the films invoke reflections on the four individuals, how they occupy these particular spaces together.

A dark take on media manipulation and political situation in Malaysia. The idea is to convey how normal citizens even though sometimes they know what they read and heard are absurd and not right but still with not much options to react but to accept them in order to maintain their livelihood. And at the same time powerful figures whom understands the mentality of the citizens continues to drives their ridiculous and absurd ideas and opinions to the mass.

A graphic disintegration of paranoia, perversion and violence in Chicago. (worldcat.org)

Fantaisie érotique

In this surrealist vignette-based film, a goldfish makes conversation with various objects. A TV becomes a writer, a triangle learns it is not a hexagon, and a goldfish sees themself without an audience. // \ / \ \\ \ / \ / /\/ /// \ / \ \\ \ / \ / /\/ /// \ / \ \\ \ / \ / /\/ /

Jean-Claude Rousseau's Jeune femme à sa fenêtre lisant une lettre is not only his first medium-length film, but a chance to discover this filmmaker whom Jean-Marie Straub has called, along with Frans Van de Staak and Peter Nestler, the greatest working in Europe. With this newly restored print there is also a possibility to discover the relationship between Rousseau's art of filming and Jan Vermeer's famous painting. As Prosper Hillairet wrote in 1988, four years after Rousseau had finished Jeune femme ... (for the first time as we know today): «Without adopting the usual systematic spirit and form of cinéma structurel, Rousseau presents us with simple images and leaves it at that. Keeps the image in hand. A minimalist and ascetic expression of cinema: a shot that lasts.»