Trypps #5 (Dubai)

After ending a very close relationship, Manuel falls into melancholy and begins to rethink his way of loving. Within his thoughts are the social problems that surround him. He realizes that with these comes a rethinking of what love is. An idea that we have been carrying for a long time: the idea that to love is to possess.

As technology accelerates, our species' collective imagination of the future grows ever more kaleidoscopic. We are all haunted by temporal distortion, perhaps no more than when we attempt to remember what the future looked like to our younger selves. As the mist of time devours our memories, the future recedes; each of us burdened by the gaping mouth of entropy. Yet, emerging technology provides a glimmer of hope; transhumanism promises a future free from mortality, disease and pain. Does our salvation lie in digital simulacra? We're here to sell you the answer to that question, for the low, low price of four hundred and seventy seconds.

This is a 1991 documentary film about the legendary artist and filmmaker, Joseph Cornell, who made those magnificent and strange collage boxes. He was also one of our great experimental filmmakers and once apparently made Salvador Dali extremely jealous at a screening of his masterpiece, Rose Hobart. In this film we get to hear people like Susan Sontag, Stan Brakhage, and Tony Curtis talk about their friendships with the artist. It turns out that Curtis was quite a collector and he seemed to have a very deep understanding of what Cornell was doing in his work.

"Thornton's magnum opus, this ongoing and open-ended serial follows its two improvisatory protagonists, children “raised by technology,” through a surreal landscape where pop culture and history, science and science fiction blur." - BAM

"A fisherman, dark-skinned and shirtless, sits in a boat on a quiet river and, before long, catches a fish. The fish gasps for air and the fisherman holds it to his chest until it dies. This sequence—performed by a series of fishermen, of various ages and using various styles of capture—is the spine of the work, interrupted by passages of quiet natural beauty; one shot is a steady, stately pan through scores of trees and empty air behind." - Vinson Cunningham

"A deeply beautiful and disturbing split-screen depiction of the contrasting daily routines of sociologist Gilberto Freyre in 1959 (author of The Masters and the Slaves, originator of Lusotropicalism, proponent of racial integration) and Cristóvão, an ordinary housekeeper in 2016." - Angeline Gragásin

A short experimental film about a fire hydrant, a busy sidewalk nestled between an electrical post and a building.

A watchman at an apartment complex in Assam, India, spends an ordinary evening. A surreal, expressionistic landscape unfolds.

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.

An ahistorical re-enactment of the strange and curious events that led up to the untimely demise of our nation’s sixteenth president.

Culled from four rolls of Super-8 film shot while the maker was a development worker in a small South American village, Daumë is at its center a film about ritual, power, and play. Daumë is both ethnography and critique; it is an interrogation into how to represent a place that can't be represented.

The Breathers-In is a 16mm experimental narrative film in which two Victorian Sisters float through a post-industrial landscape of Loss and Alienation. Through the use of archetypal characters, silent-film aesthetics, and asynchronous sound, The Breathers-In produces a world in which established constructs of identity, race, and narrative itself are slowly splintered apart.

the quarry is a silent document of five minutes in the presence of the sublime. This small, quiet 16mm film serves as a testament both to cinema’s failure to reproduce the lived moment and to its success in replacing that moment with one that is equally wondrous.

Terra Incognita is a lensless film whose cloudy pinhole images create a memory of history. Ancient and modern explorer texts of Easter Island are garbled together by a computer narrator, resulting in a forever repeating narrative of discovery, colonialism, loss and departure.

Where have you been? I have been waiting for you. Let us begin. The Tawny Frogmouth is not an owl. Here is its actual call: hrr hrrrm hrr hrrrm hrr hrrrm.

“A deadpan video art reworking of 1982's highest-grossing movie, EXTRA TERRESTRIAL peels away layers of sentimental narrative goo from its source, exposing a hard core of anxiety, loneliness and dread. Shifting the focus from character to interior, Ben Russell and Rhyne Piggott mine the landscape of a beige-carpeted ranch style house for new insights into the architecture of suburban alienation.” - Anne Reecer, Cinematexas

The Valley of Fire. Oficina Chacabuco. The Calumet Industrial Corridor. From the outskirts of Vegas to the desert ghost towns of Chile - a pinhole travelogue for the world’s end, for what was left behind.

Shot in the abandoned buildings of Gary, Indiana and the cornfields of Western Illinois, The Twenty-One Lives of Billy the Kid presents a fractured historical narrative without any real protagonist, one in which the titular character goes mostly unseen - Billy the Kid as the always-off-screen assailant, as a ghost’s laugh, as a shadow on the road.

An ethnographic field report in which the Anthropologist describes the mythic creation of an unnamed ‘sun-scraping structure’ through the ritualized actions of the Red and the Blue Gods.

Follows various residents of the Chelsea Hotel in 1966 New York City.