Wal(l)zen

Dodging Raindrops – A Separate Reality is an episodic experimental film, in which documentary and staged scenes intertwine in a mythic-apocalyptic narrative. The film begins in Los Angeles und retraces the field trips into the Southwest assumed to have been taken by the controversial anthropologist Carlos Castaneda, a founder of the New Age movement. Taking up the anthropological concept of othering, the film casts its subjects as others inhabiting another side, another reality and another opposite. In doing so, Dodging Raindrops – A Separate Reality weaves a web of ostensible truths and untruths, of legends and utopias, of historic incidents and visions.

Marcel Duchamp alternates between scrutinizing the camera, and smiling and nodding in response to what seems to be a large crowd of off-screen admirers trying to get his attention. Occasionally he puts his fingers to his lips, indicating that he is not supposed to talk.

In his book "1984", George Orwell saw the television of the future as a control instrument in the hands of Big Brother. Right at the start of the much-anticipated Orwellian year, Paik and Co. were keen to demonstrate satellite TV's ability to serve positive ends-- Namely, the intercontinental exchange of culture, combining both highbrow and entertainment elements. A live broadcast shared between WNET TV in New York and the Centre Pompidou in Paris, linked up with broadcasters in Germany and South Korea, reached a worldwide audience of over 10 or even 25 million (including the later repeat transmissions).

Jonathon "The Impaler" Sharkey threw himself into the race for Minnesota governor on January 13, 2006. His "coming out" to the media as a Hecate Witch, Satanic Dark Priest and Sanguinary Vampire grabbed international attention, and his candidacy marked the beginning of the largest amount of media coverage ever given to an unknown third party candidate running for governor in American history.

A British WWII propaganda short warning citizens that Nazi sympathizers could be listening to their everyday conversations to discover important information about the war effort.

An experimental short in which a couple engaged in lovemaking is superimposed over ocean and beach scenes.

Ivan Ladislav hides a true chamber of wonders behind the clear, mathematically abstract structure of his films and videos, meticulously compiled rhythmically frame for frame, each work likewise presenting an analysis of the film medium. Concealed therein, culled from deep in the medium’s prehistory, are hermetic parallel universes in whose number ranges and symbolic spaces, Galeta’s precisely constructed film compositions find a formalist anchor.

"Now Eat My Script is a precipice, a fluid solution in which some spectral noises of the self float adrift. Narration takes the role of a pregnant writer who continuously affirms her hunger and clumsiness towards language and history. Her body is crossed over by both the years to come and the stories that have been buried. As a would-be pirate, she navigates through the tumult of familiar waters."

Explore the disappearing tradition of second sight in the Outer Hebrides of Scotland. As we listen to locals' accounts of haunting experiences—phantom horses, ghost voices and other supernatural phenomena—Joshua Bonnetta connects their testimonies with 16mm images and a sonic montage of the physical and aural environment of these enchanted islands.

An avant-garde film presented as part of an exhibit at the Museum of Modern Art. From MoMA's catalog: "For the monumental installation Play Dead; Real Time, (director Douglas) Gordon arranged for a circus elephant to be transported to Gagosian Gallery, in New York City, where he filmed it obeying a series of commands (repeatedly lying down and then awkwardly struggling to rise). Like many of Gordon's protagonists, the elephant is subject to greater forces, beyond its controL Simultaneously presenting several different versions of the scene, in front and rear projections and on a monitor, the work depicts the event from a range of perspectives rather than from a single static viewpoint."

Homeo is a mental construction made from visual reality, just as music is made from auditive reality. I put in this film no personal intentions. All my intentions are personal. I’ve made this film thinking of what the audience would have liked to see, not something specific that I wanted to say: what the film depicts is above all reality, not fiction. Homeo is, for me, the search for an autonomous cinematographic language, which doesn't owe anything to traditional narrative, or maybe everything. Cinema is, above all, part of a way of life which will become more and more self-assured in the years and century to come. We are part of this change, and that’s why I tried in Homeo to establish a series of perpetual changes, in constant evolution or regress, which tries, above all, to focus on things.

One of the very few films made by Etienne O'Leary, all of which emerged from the French underground circa 1968 and can be very loosely designated 'diary films.' Like the contemporaneous films by O'Leary's more famous friend Pierre Clementi, they trippily document the drug-drenched hedonism of that era's dandies. O'Leary worked with an intoxicating style that foregrounded rapid and even subliminal cutting, dense layering of superimposed images and a spontaneous notebook type shooting style. Yet even if much of O'Leary's material was initially 'diaristic,' depicting the friends, lovers, and places that he encountered in his private life, the metamorphoses it underwent during editing transformed it into a series of ambiguously fictionalized, sometimes darkly sexual fantasias. - Experimental Film Club

A woman walks, loves, eats and washes herself, dances. It all takes place in a bedroom. At times flashbacks, or visualizations of previous or following scenes. Unless her life in the bedroom becomes an obsession, she lives through the other scenes.

Footage from summer of 2018 that explores the passing of time regarding the little things in life.

A documentary in réalité style harkening back to the early years of cinema. Composed of scenes around Victoria, BC during February 2019.

Calangros: Um faroeste sobre o terceiro mundo

Paleo is a video clip shoot at the famous homonymous music festival in the French canton of Vaud in Switzerland, where many hippie-techno-pagans gather every summer since 1977. The editing style is a tribute to the reworking of psychedelic theories and the New Age proliferation within rave culture in the early 90s from the perspective of the late second decade of the new millennium. In the footage, the ritual ingestion of psychedelics is symbolically replaced by a liberating dance through a powerful fast montage that epitomizes the frenzy of intoxication achieved through psychedelic plants. A revival of a revival of a revival.

In 1967, experimental filmmaker Jorgen Leth created a striking short film, The Perfect Human, starring a man and women sitting in a box while a narrator poses questions about their relationship and humanity. Years later, Danish director Lars von Trier made a deal with Leth to remake his film five times, each under a different set of circumstances and with von Trier's strictly prescribed rules. As Leth completes each challenge, von Trier creates increasingly further elaborate stipulations.

The 360° project tells the story of a peaceful environment featuring a rare case phenomena where a swarm of butterflies is nurturing itself by eating the nectar of flowers showing the beauty but also the fragility of a complex ecosystem. The video installation is configured to work as an interactive 360° experience where the spectator can view the untouched nature by moving / grabbing / touching the nature by his/her hands (mouse) but offers also the possibility to be screened large scale as a flat video loop on a wall, building or in cinema.

(Always) Next to Me is a 16mm film that pairs abstract sequences of plants developed directly on the film emulsion with intertitles briefly describing what was going on for me personally at the moment the plants were collected. I started the film at the beginning of the pandemic, just after I found out I was pregnant for the first time in April 2020 and finished it just before the birth of my baby in December of the same year.