Experimental Film

Part of paraconsistent sequence series.

A brief dialogue between Marianne Renoir and Pierrot and a short description-reading from ‘Pierrot le fou’ about Diego Velázquez – these intersect with a visual moment to constitute the outline of a perception and the occurrence of the idea of ‘el pueblo,’ of a meeting.

Based on a photograph taken in the mid 1970s of two African Americans playing foosball.

This title is only available on Can You Move Like This: Black Fire.

Spell Reel is an archive of film and audio material from Bissau, Guinea-Bissau. On the verge of complete ruin, the footage testifies to the birth of Guinean cinema as part of the decolonising vision of Amílcar Cabral, the liberation leader who was assassinated in 1973.

Old Cat will eventually and pleasantly get to a destination. Shot in the summer of 2009, in a single take, on a lake in Virginia.

Cast: Chad Bowles, Marcus Bowles.

This title is only available on Broad Daylight and Other Times: Selected Works of Kevin Jerome Everson.

These are the remnants of mass culture in the collective unconscious that spill into reality. Part of the Hauntology and Post-Covid series.

This is an agitprop piece on resistance from the autonomy and indigenous sovereignty that hold in his own name, in his own letters, in his own sparks and embers of letters.

Part of paraconsistent sequence series and the hauntology series.

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

Ming Wong creates videos that explore performance and issues of race and gender. Born in Singapore of Chinese heritage, and now based in Berlin, his work examines cross-cultural experiences by appropriating scenes of iconic world cinema. Wong casts himself anachronistically as the star, critically exposing the otherness of the relationship of media and world history.

Laurie was inspired by Laurie Weeks’ uncanny ability to simultaneously embody her characters and write them from a clear distance. The text in question is just a few paragraphs from a draft of the novel Zipper Mouth, more than ten years in the making, and published by the Feminist Press.

“To master the one-minute time span requires considerable discipline, and few pieces, if any, had been shaped as genuine miniatures—most having the appearance of being extracts from larger works. The notable exception was John Smith’s Gargantuan, which was not only the right length for the idea, but actually incorporated a triple pun on the word ‘minute.’”

— Nicky Hamlyn, “One Minute TV 1992”, Vertigo (Spring 1993)

"A wonderfully witty example of how to conduct pillow talk with a small amphibian."

— Elaine Paterson, Time Out London

The Erosions series develop the concepts of oxidation, wear and entropy from an audiovisual and cinematographic perspective.

The Templo Mayor was the center of the Aztecs' religious life in Tenochtitlán, a ceremonial building in the heart of Mesoamerica. A center of political battles of contemporary Mexico. A ritual of resistance.

A call for a political transformation, a life that emerges from the earth's own interior.

The ground holds accounts of once pagan, then christian and now muslim ruins of the city built for Aphrodite. As she takes revenge on Narcissus, mirrors reveal what is seen and surfaces, limbs dismantle and marble turns flesh.

Radio reports analyze staged photographs we do not see, showing the victims of a mass murder committed by Mexican soldiers. The politicization of the film accounts for the duality between framing and mis-framing, and also shows the overflowing character of a process of transit.

Part of the paraconsistent sequence series.

The unstable earth becomes the epicenter of this videotape document which explores—in a fractured way—the relationships between the people, places, and furniture that sit atop the San Andreas Fault.

In 1985, Hassan Zbib and Olga Nakkas separately started to develop film scenarios based on simple narratives, and would shoot them on Super 8, which was still possible to develop in Beirut at the time. Their work featured the city as a stage where lonely characters drifted: a taxi driver in his car, a man walking around, talking to a Rambo poster.

The Sun Quartet is a solar composition in four movements, a political composition in four natural elements, an audiovisual composition in four bodily mutations: a sun stone where youth blooms in protest, a river overflowing the streets, the burning plain rising in the city. And, finally, the clamor of the people that shook Mexico after the night of September 26, 2014. The disappearance of 43 students from Ayotzinapa opened a breach in the Mexican political body.

Part of paraconsistent sequence series.

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.

If Not is a meditation on love, inspired by If Not, Winter by Sappho, translated by Anne Carson. Filmed in Ephesus and Brooklyn.

Music: Cenk Ergün

Memory in three acts. A boy opens his presents. Two men open a suitcase stuffed with photographs. An aging actress opens her heart to lost love and ancient rivalries.