Emptiness

A man sits in his living room, doing absolutely nothing while morning arrives.

Phantasia

X-ray images were invented in 1895, the same year in which the Lumière brothers presented their respective invention in what today is considered to be the first cinema screening. Thus, both cinema and radiography fall within the scopic regime inaugurated by modernity. The use of X-rays on two sculptures from the Bilbao Fine Arts Museum generates images that reveal certain elements of them that would otherwise be invisible to our eyes. These images, despite being generally created for technical or scientific purposes, seem to produce a certain form of 'photogénie': they lend the radiographed objects a new appearance that lies somewhere between the material and the ethereal, endowing them with a vaporous and spectral quality. It is not by chance that physics and phantasmagoria share the term 'spectrum' in their vocabulary.

reMemBer2.human

In an indeterminate future, forbidden memories challenge a database containing all human memories. An experimental cinematic search between past and future, fiction and fact, Prishtina and Tirana. The future, a glitch.

The Murmur of Nu Shu

Becoming Air

Breathe deeply: in 3 years, your molecules will circle Earth, as today’s oxygen came from nature.

La dissolution du paysage

Angel

In this short film, a young man, a girl and a dog attempt to fly with wings more symbolic than practical.

Functional Block Diagrams

A synthesis of sound and movement; colourful characters dance and move in repetitive patterns to percussive and melodic elements. A combination of motion and music that is hypnotic and beautiful. At first it feels structured and orderly but as more elements are added becomes quixotically expressive.

FOREIGN AFFAIRS

Shot on 16mm film in New York and composed in Berlin, the work explores polarizing themes of the metropolis. Audibly and visually, the viewer is put in a flicker between serenity and intensity; harrowing ambience cut with sharp beeps, vulnerable steps mashed in high velocity.

Dark Mixer

Iwasaki’s ink oscillates like an evil lava lamp that might actually be alive and its progression into more and more disturbing images create an impressive sense of dread in a film that is basically just some pencil drawings on a blank background. (Film School Rejects)

Drums West

This newly rediscovered short was created in Jim's home studio in Bethesda, MD around 1961. It is one of several experimental shorts inspired by the music of jazz great Chico Hamilton. At the end, in footage probably shot by Jerry Juhl, Jim demonstrates his working method.

The End

It is said that if a man is fading away, he sees his life running quickly in front of his eyes. What does a hundred-year old film strip see before it gives way to digital vehicles? Does it see broken frames, scratched film stock or something else? This is a film about time and its ephemeral nature.

And Um

Direct animation on 35mm.

Bunnyhood

What could possibly be more important than feeding your daughter?

Things to Come

A vibrant animation by Patricia Marx. Preserved by the Academy Film Archive in 2000.

3-D

3-D is a hand-painted experimental short film by Riley Hogan. Acrylic paint, ink and scratching were used to animate on clear Super 8mm film leader.

Rhythm

A comfortable rhythm composed of light and shadow. Director Ogino-style absolute movie which freely manipulates geometric figures.

Dilution

Dilution is an experimental short film that explores the transit between resistance and (di)ssolution, between holding and releasing and a path towards obsessive repetition. They are layers, exposed pores, matter that oscillates between remaining or disappearing. The sound is not a background, but a puncture: friction, tearing, water that drags what still persists. A sensorial testimony of what refuses to vanish completely.

Artificial Intelligence, 2023

Composed entirely of AI-generated visuals and providing an abstract representation of the evolution of AI video, processed entirely through a VCR.

All Souls Carnival

Len Lye usually timed his films with great care to match their soundtracks, but for All Souls Carnival, he and composer Henry Brant worked separately, preferring to see if the score and visual track would synchronise by chance. Lye also experimented with a new Direct Film technique, drenching the filmstrip in colourful paint and marker pen.