beer cans under my bed
This short, started early on into sobriety, finished about nine months in, is a collage of diaries and notes, collected from within addiction and into recovery.
ONCE AGAIN, SHE WILL BE FERTILE FROM THE SPRING...
Cinema came to lead humanity to salvation, Christ-like, akin to a wild horse... and on this path, it faced many hardships and was ultimately destroyed by the forces of evil. However, it had previously promised a second coming; this time, in a different form and on a different path...
This short, started early on into sobriety, finished about nine months in, is a collage of diaries and notes, collected from within addiction and into recovery.
The history and trauma of two men, brought together by war, is exposed when a mysterious visitor treads familiar ground.
Jess confronts a piece of her past on the platform…
Derived from an installation, an asymmetrical orchestration of "motion paintings" pushing the limits of abstraction in the digital age.
An exploration into perceptual processes in the act of seeing and listening, Chiasmus takes film as a metaphor for the breathing body, through the intercrossing of the medium and the fragmented images of the body in movement. The rhythm and tension created by the interplay between sound and image, and their disjunction and conjunction, aspire to an organic and sensual moment where inside becomes outside, and outside inside.
For the purpose of collection, preservation, and recording, numerous faces that existed in different times and places densely gather in a single space. Among them are photos of Koreans taken during the Japanese occupation era for physical measurements and Buddha statues with severed heads for reasons unknown.
A set of 500*500 pixel boxes analyzes a group of image data produced on a train—a train running between Korea and Kazakhstan. Mostly, the detection process appears to be random. However, despite the incoherency, the boxes can generate an output, a story that can make sense.
Two screens. Fusion of two words, usually one losing the final part and the other losing the initial part.
An experimental short film showcasing random images from a person's life.
Political engagement spawned the wildest of wonderlands for Hong Kong’s creativity – but as a new law annihilates freedom of expression overnight, underground artists and creatives find themselves targets, and their works disappeared. Together we race to preserve the creative uprising amid China’s crackdown.
The Possible Fog of Heaven is a consideration of the dimensionality of metaphysics and the metaphysics of dimensionality. Elvis speaks for the first time from the afterlife, describing in voice over and graphic text, his experience in Heaven. The Structure of the tape follows the King’s last prescription.
To forget about the end of a relationship, a woman fantasizes about an ideal one. Fantasy and reality begin to melt into one another, but the past finds a way to rear its head again. Films used: Notorious (1946) Gaslight (1944)
May our smiles not be forced for your enjoyment and may our pains no longer be hidden. May my mother Yemanja help me. A short film about the pain we carry alone and that we only confess to the sea, which is life, but for us, black people from the diaspora, it's also a memory of a past of sadness and death.
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In a not so distant future artificial intelligence speaks to suffocating humanity. On the last journey, humanity is escorted by surreal entities, through twists and turns that led to humanity’s last breath.
In this vivid transposition of contemporary music for television, Cahen "responds" to the complex musical transitions of Répons, a work by French composer Pierre Boulez. Performed by the Ensemble InterContemporain and conducted by Boulez, the intricate Répons was designed for an ensemble of twenty-four musicians, six soloists and a "real-time" digital processor. In Cahen's re-composed interpretation, he responds with visual and temporal transformations, "opening" the images in space and time and applying electronic techniques to engulf the instrumentalists in ocean, sky, and trees. Mirage-like superimpositions, temporal shifts, mirroring effects and de-synchronization result in a rhythmic confluence of the illusory and the real. Immersing the viewer in image and sound, Cahen mirrors the transformative process of Boulez's music.
“Leda + Swans” depicts an infernal, mythic birth of cinema, dredging the violence and horror from Wallace McCutcheon’s comic short film “Photographing a Female Crook” (1904). Leda, who may or may not be a falsely accused young woman, is brought in for a mugshot by two officers. She first attempts to avoid the camera’s gaze, and, when overpowered and manhandled, contorts her face to ruin the photograph. However, her small rebellion proves futile; she was already being recorded, objectified, mapped, and co-opted by the Godhead of the director. As her body and image are repurposed and transmuted ad infinitum, the filmic universe also explodes into a supernova. What is born out of this suffering and manipulation is another example of our sublime medium and modern muse. She will not be last the Leda, and she may not even be the first. Who is the guilty party here? Is beauty a chimera in traditional cinema? Has the ephemeral cinema of the attractions and distractions era gone anywhere?
O suprematismo. Mayakovsky Square.
Someone wanders through a house while fleeing from a mysterious presence. Their body dissolves on-screen, and their mind is invaded by a strident gray noise.
National insurance made amusing by the eccentric Richard Massingham.