The Iron Sea
An experimental short shot on a f0.3 equivalent large format lens
A broken memory.
An experimental short shot on a f0.3 equivalent large format lens
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Filmmaker and artist Jack Smith described his own film as a “comedy set in a haunted movie studio.” Flaming Creatures begins humorously enough with several men and women, mostly of indeterminate gender, vamping it up in front of the camera and participating in a mock advertisement for an indelible, heart-shaped brand of lipstick. However, things take a dark, nightmarish turn when a transvestite chases, catches and begins molesting a woman. Soon, all of the titular “creatures” participate in a (mostly clothed) orgy that causes a massive earthquake. After the creatures are killed in the resulting chaos, a vampire dressed like an old Hollywood starlet rises from her coffin to resurrect the dead. All ends happily enough when the now undead creatures dance with each other, even though another orgy and earthquake loom over the end title card.
A guy named Ray tries to go to sleep and a sasquatch gets into funky business.
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Succeeding in entering the past, a young man meets his favorite actress whom he adulates with passion. His identifying urges emerge, and the desire of replacement prevails : he makes his idol live forever.
A female hotel employee wanders around different guestrooms and searches for an unreachable dream. Wandering in other people’s dreams, she encounters a mysterious guest and hears a story about a woman who dances deep inside her dream and a dancing procession...
An overly anxious man mysteriously finds himself unable to leave a bathroom.
This visual poetry is a celebration of the full spectrum of womanhood, from the complex vulnerability to the hidden power.
A collection of interwoven images are threaded together by a string of unspecified women who roam their dreamscape which they are unable to escape. They are displaced, belonging to no particular point in time or place, and a disoriented sense of self pervades. Together, the film becomes a quietly throbbing organism of reality and unreality, and the gaps between an impending present and a perpetual past are frail.
A meditation on isolation through paint textures, video collage and sound
Hoping to find a sense of connection to her late mother, Gorgeous takes a trip to the countryside to visit her aunt at their ancestral house. She invites her six friends, Prof, Melody, Mac, Fantasy, Kung Fu, and Sweet, to join her. The girls soon discover that there is more to the old house than meets the eye.
A man unravels the consequences of reaching the unreachable horizon, starting from the abyss.
A girl approaches a divine entity that comes to the world in the form of a yellow umbrella, and ends up discovering her true self.
A photographer during the Soviet-Afghan war becomes obsessed with a mysterious figure that appears in his images every time the person photographed dies.
L'amour (love). La mort (death). Two French words that could confuse a foreigner, but never a native. Messenger V writes for a company that sends out both love letters and death sentences. After going into work one day, she finds out her assigned recipient is her lover.
In what could be considered a follow up to Al Qasimi’s 2020 work Mother of Fire, she once again invokes the figure of the jinn (spirits in Islamic mythology) to explore the ghosts of British imperialism in the UAE. As its spectre lingers on the horizon, two teenage girls seek to liberate a pirate damned to spend purgatory on a site now being developed into a hotel. Originally commissioned for Sharjah Biennial 15: Thinking Historically in the Present, Al Qasimi entangles historical narratives with contemporary notions of piracy. In examining how it has been historically and culturally represented, new perspectives of old mythographies come into focus. (Myriam Mouflih)
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A socially awkward, neurodivergent youth struggles to adapt at a social gathering that quickly takes a turn into the uncanny and surreal.