La Panadella, an emblematic small road town in decline located in Catalonia, is awaiting the arrival of visitors from a mysterious tower. While its inhabitants and passersby follow their monotonous routines, a strange signal manifests itself.
Two layers of mesh overlap on the left. One rotates over the course of a day, its speed shifting gradually. On the right, a single mesh remains still. Digital interference is continuously superimposed onto the physical rotation. Where no rotation occurs, motion persists through digital interference alone. Under different conditions, the two images arrive at similar shimmering forms. The sound drifts with the sky. Tremolo. Pulse.
Over 32 years of archives, patterns emerge and stare back. Will they shape the films I'm trying to make – or haunt their edges?
Samba, Popping, and Jazz. Through these dance styles and documentary interviews, Bodies That Tell Stories seeks to discuss the standardization and whitening of dances that had their roots in Black people.
Latest installment from the on-going collaboration between filmmaker Paul Clipson & musician Jefre Cantu-Ledesma. Paul's Super8 films, shot entirely in New York City, channel the blissed out states of color drenched psychadellia explored by Brakage as well as lovely black and white still life's that reminisce on Ozu's 'pillow shots' & Chantel Akermans monumental portrait of Pre-Giuliani New York 'Letters Home'. Jefre's music is culled from the same sessions that launched his 2007 release on Students Of Decay 'Shinning Skull Breath', (the two share a track in common). Billowy clouds of distorted guitar expand out into long passages of muffled static and fuzzed out melody.
Using variations of color and light, this is a method that I attempted to translate how I feel for a special someone on her special day.
A short study on our relationship with natural landscapes, the evolution of spaces and the memories they hold
A silent city symphony, projected from gorgeous black and white 16mm film. Materia vibrante lets the resonating frequencies of the urban environment create the inaudible hum that keeps the engines of society running, absent of the inhabitants running around like little ants toiling away.
Memory is a collaboration with musician Noah Lennox (Panda Bear), exploring the relationship between a musician and filmmaker and their personal reflection on memories. From Super 8 home movies and entirely handmade, this film explores familiar memories, the present moment combined with past experiences and how it all seems to evade from our present memory.
Cold pearly winters and the brutality of war running simultaneously.
Filmed from the last night of Tihar, festival of light, in Kathmandu 2025, exploring colour, light and stillness.
"Meat Joy is an erotic rite — excessive, indulgent, a celebration of flesh as material: raw fish, chicken, sausages, wet paint, transparent plastic, ropes, brushes, paper scrap. Its propulsion is towards the ecstatic — shifting and turning among tenderness, wildness, precision, abandon; qualities that could at any moment be sensual, comic, joyous, repellent. Physical equivalences are enacted as a psychic imagistic stream, in which the layered elements mesh and gain intensity by the energy complement of the audience. The original performances became notorious and introduced a vision of the 'sacred erotic.' This video was converted from original film footage of three 1964 performances of Meat Joy at its first staged performance at the Festival de la Libre Expression, Paris, Dennison Hall, London, and Judson Church, New York City."
An Editor recounts the diaries of a failed film production as they attempt to construct a new narrative from the remaining footage.
With the lack of personal video archive, Youhanna (the filmmaker) creates false memories using lost home videotapes shot between the 1990s and 2000s in Europe, Africa, and Asia, with the help of an Artificial intelligence programme, until a real, personal video archive surfaces, transporting him into the past to relive one more memory with his late mother.
fifteen zero three nineteenth of january two thousand sixteen explores how everyday routines and gestures are transformed when a mother loses her child in the violence impacting Swedish outskirts since the early 2000s. The film resists simplistic media depictions of the suburbs and shows how a home can hold both mourning and the mobilization of women to fight for their own and others' children.
Working completely outside the mainstream, the wildly prolific, visionary Stan Brakhage made more than 350 films over a half century. Challenging all taboos in his exploration of “birth, sex, death, and the search for God,” he has turned his camera on explicit lovemaking, childbirth, even autopsy. Many of his most famous works pursue the nature of vision itself and transcend the act of filming. Some, including the legendary Mothlight, were made without using a camera at all, as he pioneered the art of making images directly on film, by drawing, painting, and scratching.
"Bagong Buhay" is a short experimental film that dispels the common belief that packing up and moving to a new place will magically improve one's quality of life. The film challenges this presumption by portraying two contrasting ways of life through objects and locations, encouraging viewers to think critically about the complexities of what makes a better life. In the Philippines, it's believed that relocating to a new area will bring about positive changes in one's existence. True satisfaction is a complex and multifaceted notion, and "Bagong Buhay" encourages us to ponder that relocating to a new place is not a surefire way to attain it.
![Sculptures [short]](https://image.tmdb.org/t/p/w500/4Ro6uepPWHINvYeSAd5mKZBvceR.jpg)
