Experimental Film

Chain, 2004

As regional character disappears and corporate culture homogenizes our surroundings, it's increasingly hard to tell where you are. In Chain, malls, theme parks, hotels and corporate centers worldwide are joined into one monolithic contemporary "superlandscape" that shapes the lives of two women caught within it. One is a corporate businesswoman set adrift by her corporation while she researches the international theme park industry. The other is a young drifter, living and working illegally on the fringes of a shopping mall.

This is the vision from the “chinampas", the hectic life in the floating gardens, an ancestral system of audiovisual planting.

Chrysalis, 2019

An attempt to explore the metamorphic drama of expanding entomological entities. Sparkles of the screen-membrane in erosion.

Cinnamon, 2006

Cinnamon presents a glimpse into the world of African American drag racing. It follows the consistent routine of a bank teller and a mechanic as they prepare for the sport. Once the routine is disrupted, the result of the race comes into doubt. The bank teller is a driver who tries to stay focused before races. The mechanic’s job is to constantly examine the driver’s behavior. He has to adjust the racecar to the driver’s skill and ability and modify the racecar for the weather conditions.

Circle's Short Circuit is an experimental feature-length work with neither a beginning nor an end—the film can be viewed from any random point. It moves through a circle of five interlocking episodes that describe the phenomenon of interruption in contemporary communication through various forms and modes, investigating causes, consequences, and side-effects. Genres shift along the episodic path of this circle, moving from documentary to essay, through collage, simulated live-coverage, and silent film.

This is our proposal: Make the rich pay for Covid-19.

This is Rothko's haunted painting and its circular detour. Bloody suppuration and enchanted absorption as an omen in times of pandemic vortex.

Cloud , 2022

Part of the paraconsistent sequence series.

Coátl, 2015

This is the path from the snake’s perspective.

Coatlicue, 2020

This is the nest image, the camouflage image, the vortex image, the haunt image, the net image, the drill image, the wire image, the cocoon image, the haunted image, the interconnected image, the pandemic image. The haunted space of the image.

In this 2001 interview, filmmaker Jem Cohen discusses the origins of his film philosophy, and the circuitous route he has taken in his pursuit of an anti-narrative film practice outside the mainstream. Cohen sheds light on the many influences that have impacted his sentiments towards conventional film, and his desire to eschew both classical avant-garde and theatrical filmmaking in favor of a model rooted in the tradition of the 1940s New York School of street photography. Cohen also locates his aesthetic as being impacted by the 1970s hardcore and DIY scenes he was exposed to as a youth in Washington, DC.

In this 2006 interview, filmmaker Jem Cohen discusses his early interest in art, his family’s welcome antipathy towards commercialization, and his unconventional, anti-mainstream film practice. In particular, Cohen discusses his film This is a History of New York, and how this piece exemplifies his interest in the “territory of sensation” rather than simple visual descriptiveness. Cohen concludes by discussing the role of archiving in his practice, and how compulsive documentation of the quotidian and unexceptional can result in the empowerment of the everyday.

Part of paraconsistent sequence series.

Colonial Transfer vindicates the eidetic chasm that produced the arrival of television in the cinema as well as the absorption, transduction and digital expansion of television and historical film archives, all linked by the negentropic outburst of a source code in trance. This is the state of ever-expanding media landscape in the post-covid quarantine. Our state of space-time.

Comalli, 2020

Comalli is the ancestral tool to cook our sacred food, our corn and tortillas. The circular tool that represents the dark side of the moon on which our earthly food burns. The cosmic dance of food and fire that nourishes our bodies. Part of the Lunar Films series.

A poetic meditation on distance, Come Closer is a short and peripatetic film, casting an affective web between the locations of Lisbon, San Francisco and Brazil. Focusing on Brazilian-Algerian filmmaker Karim Aïnouz, musician Derrick Green –– the filmmaker’s brother and lead singer of Brazilian band Sepultura –– and her own work produced in Lisbon since 1992, Come Closer can be thought as a meditation on friendship and saudade.

Company Line is a film about one of the first predominately Black neighborhoods in Mansfield, Ohio. The title, Company Line, refers to the name historically used by residents to describe their neighborhood, located on the north side of town close to the old steel mill. The Company Line began during the post–war migration of Blacks from the south to the north in the late 1940’s. The neighborhood was purchased in the early 1970s and its residents were scattered throughout Mansfield.

During my stint as an entry-level acquisitions scout at a now-defunct art house distribution company, I amassed a small collection of VHS tapes from a vast pool of unsolicited submissions. By the standards of the art house canon, these were very bad movies, but I adored them for the sincerity of their intention. Bits and pieces of these movies became source material for a number of the videos on this compilation (Teenagers, Hymn Of Reckoning, Fantasy Suite).

Here, a double morphology of conversion forces us to think about the trance of non-reconciliation, outburst and trance that go through the centuries of colonial violence until reaching us in the tension of an audiovisual disjunction: visible and enunciable. On the one hand the museum, habitat of barbarism, on the other hand the voice, place and body of the furious testimonial. Religious conversion that conveys communal violence. Archaeological conversion that imposes object immobility.

Copalli, 2022

This is the invocation to the gods, the incense to the gods. A kinetic dance to the gods. Behold the hieratic nature of Tonatiuh (The Sun) and the ferocity of Tlaltecuhtli (Goddess of the Earth) raising her agitation from the white smoke of the burned Copalli, Mesoamerican aromatic resin, sacred resin that tears celluloid with smoke, white hair, on the dark background of the world.

Coral, 2019

Coral is part of the harmonic and hyperkinetic colors film series. In this part the transcendental experience of his harmony leads us to an aesthetical suspension of content. Part of the Harmonic and Hyperkinetic Color Film Series.

Coyolxauhqui recasts the mythical dismemberment of the Aztec Moon goddess Coyolxauhqui by her brother Huitzilopochtli, the deity of war, the Sun and human sacrifice. The film is a poem of perception, one that unveils how contemporary Mexican femicide is linked to a patriarchal history with roots in deeper cultural constructs.

Coyote, 2023

This is the howl, gaze, and agitation of the Coyote into the mountain. The Path of the Coyote.

Crudo , 2019

This is the crude and unnatural state of civilization, an image not yet processed or refined that hides and displays in its intermittence all the crude violence of the anthropocenic industry. The raw and fossil image of the Capitalocene. Part of the Hauntology series.

Crypt, 2022

Part of the paraconsistent sequence series.