X Is Y

A distraught squatter tries to cope with his werewolf nature through drugs and music.

In 1920s Ireland young doctor Damien O'Donovan prepares to depart for a new job in a London hospital. As he says his goodbyes at a friend's farm, British Black and Tans arrive, and a young man is killed. Damien joins his brother Teddy in the Irish Republican Army, but political events are soon set in motion that tear the brothers apart.

In this animated short, a terrible curse deprives Balthasar's kingdom of its stories. Taking the unicorn's horn back into The Belly of the Earth is the solution. Poppety will lead an expedition, by chance uncovering a hitherto closely guarded family secret.

This experimental dance film employs a bastardized version of the 1930s three strip Technicolor process. Shot entirely on black and white film through color filters, the images were recombined into full color through optical printing techniques, one frame at a time. The gestures in this dance work explore the psychological fracturing and reunification in representations of the female body.

A high-speed drive through the streets of Paris.

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

Between a man and his lover lies a wall, between the man and the country he loves lies another wall. Can a one-sided dialouge breaks the walls and expresses the man’s feelings and sentiments? Or does the lover or the country wants the wall to be broken in the first place? This short was inspired by Amy Len’s dance choreography “Wall” and colloborated with Loh Bok Lai. The dance was originally choreographed for a performance in Japan Dance Wave Fukuoka ‘06 - Asian Contemporary Dance Now and later made into an experimental video combining elements of an actor and monologue. The video footages were also used for the dance piece itself in KL.

Colossal explores the complexities of grief and the process of grieving as understood through the myth of a Man as he ventures through shifting landscapes ruminating.

ISLANDS explores a cinematic journey of two astronauts. As they enter Earth’s atmosphere the structure transforms. The spacecraft becomes the meteor from a myth of a tribesman; it triggers an old lady’s memory of a lover from her past. As these diverse characters converge in a plane of reality, we confront a particular form of gravity we covertly feel—falling in love.

At first, there was Tagalog, Gym Lumbera’s short and, to his mind, unfinished narrative about the infidelity that comes between a husband and wife in their twilight years, shot on film and reflecting his own real-life infidelity.. And then there was a storm, a real storm and not a metaphorical one, that flooded his house and submerged, and subsequently damaged, the only copy of Tagalog. This damaged version, entitled English, became the missing piece that completed the film. The new work is named after Taglish, the bastard hybrid, some say corruption, of Tagalog and English, and has become a meditation on love and language and the ways in which we betray and destroy them.

Basically an artist is also a terrorist, the protagonist thinks in an unguarded moment. And if he is a terrorist after all, then he might just as well be one. Not an instant product, but an experimental feature in which diary material is brought together to form an intriguing puzzle.

Sarah is a debt collector who lives among the inhabitants of the village of Guimbal on the island of Panay. She wants to find the young man who appeared to her in a dream and goes to the island of Negros. Here, as she interacts with the inhabitants, Sarah continues her search, gathering memories of life and war, dreams, myths, legends, songs and stories that she takes part in and at times revolve around her. She is the daughter of an ancient mermaid, a revolutionary, a primordial element, a virgin who was kidnapped and hidden away from the sunlight. “The film is a retelling of fragments of the American occupation. Dialogue, shot in the Hiligaynon language, is not translated but used as a tonal guide and a tool for narration. Using unscripted scenes shot where the main character was asked to merely interact with the villagers, I discard dialogue and draw meaning from peoples’ faces, voices, and actions, weaving an entirely different story through the use of subtitles and inter-titles.”

"Mapang-akit" is an offshoot of a documentary project made with an Icelandic filmmaker and uses the outtakes from the Hudas Hudas festival in Antique, where a community bonds over a large effigy of Judas Iscariot during Holy Week. Amidst it is a found story of a man who returns home to his death after pursuing a woman in a neighboring village.

Rapidly changing images of natural objects, scenery, animals, plants, and people flicker, flash, tumble, and cascade across the screen.

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.

Time plods along in spattered irregularities as anger and depression coalesce in confusing amalgamations.

A solitary man works in a tall office building. The only moment in his drab life that's out of the ordinary each year seems to be opening the birthday card and gift from his mother. Usually it's a tie, but one year it's an accordion. It goes into the closet with his many ties. A year or two later, he discovers what happens to the papers he processes every day. His discovery sends him first to the building's top floor, then to his closet.

"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

Ich lebe in der Gegenwart - Versuch über Hans Richter

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.