Experimental video art compiled from video taken on an LG Env3 flip phone circa 2009-2010
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The tram system of Glasgow and the last weekend of the service.
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Fragments from Brussels, about the flow of the city, A cinema, A body, A film, and a wind that blows through the town. The film is a Schizomentry experience that blends real stories and fiction. After all, where is the border?
Chileans are asked about their definition of the word (and the concept of) "power", as they answer images flash on the screen of powerful and powerless figures in Chilean history.
A collection of personal footage from the end of 2024. A mix of private holiday scenes and cold city cinematography, in differing video quality. You can see it as a creative video diary.
Emmy Award-Winning Special Desi and Lucy's daughter, Lucie Arnaz, hosts this emotional and honest glimpse at the extraordinary lives of her world-famous parents, highlighted by never-before-seen color family movies along with insightful interviews from family members, business associates and celebrity friends such as Bob Hope. Winner of the Emmy Award for Outstanding Informational Special, LUCY & DESI: A HOME MOVIE is a sensitive and absorbing documentary that details the circumstances which brought the immortal twosome together and ultimately drove them apart.
A box with a 1992 VHS and some film slides from a friends trip to Sri Lanka.
Dream and deficiency, a letter without recipient.
A farewell to the amalgamation of memories that a family crossed by the passage of time leaves in Denia.
Kindness, creativity, inclusivity, and a touch of magic makes the world a brighter place. Explore the story and impact of Canadian entertainer Ernie Coombs and his iconic series, Mr. Dressup, which enriched the lives of five generations.
Documentary with fragments and records about the boundaries between art and counterculture, based on a debate held at the Museum of Modern Art, Rio de Janeiro, in October 1968.
A complete historical documentation of one of the world's most unique bands, Tally Hall, & its members
Filmmaker Wilma Smith goes back to her family home and listens to the voice messages left from her Mum and Dad.
I enjoy religion, I appreciate belief systems and how they offer structure to people's lives. I also appreciate how spirituality manifests itself in Asian cultures as this almost earthbound presence guiding people through every day life and when they need an extra bit of help they need only ask whichever deity holds dominion over their desire. Here is an experimental film I made with videos from my iPhone. Shot across Taiwan and South Korea. An experimental film I made with videos from my iPhone. Shot across Taiwan and Korea. My aim was to explore success in how it pertains to every day life, the satisfaction of small moments, spirituality, superstition, and daily rituals.
Seoul, 1996. Wastewater from developed film reels is dumped into the sewers. From this toxic discharge, a monster awakens, carrying the memories of countless movies imprinted on the film reels. Burdened by a vanished past, the monster wanders the city.
Experimental video art shot in the Wallingford neighborhood of Seattle
Pedro is Mallorcan, born to a mother from Burgos and a father from Mallorca. Due to his distant relationship with his father, Pedro doesn't fully master Mallorcan as a language. He turns to the works of Damià Huguet to remember his father, as only his poems can fill the void left by his death. The poet's words transport Pedro to his childhood and his roots, even though many of the words are unknown to him, despite them belonging to his language. This becomes the driving force behind the protagonist's search for his own identity, his origins, what it means to be a man, father-son relationships, collective identity, and "mallorquinness". Pedro constantly questions the emotions stirred by Huguet's poetry, and, most importantly, who he is and where he belongs.
The story of how the mobile phone was created and how it changed everything.
Hit Him on the Head with a Hard, Heavy Hammer departs from the handwritten memoir of the filmmaker’s father and his experience of displacement during wartime. Referring to the notion Thomas Hardy termed ‘The Self-Unseeing’ in his eponymous 1901 poem, the film returns to childhood and the matters that harden us: upbringing, social status, education, labour, and familial bonds. The memoir weaves into the film as both a contemplation on mortality and an illustration of fading memory, reflecting on how we pen our pasts and how they can be re-told.
Self
