Experimental Film

This is an agitprop piece about the reflection and dispersion of an eroded slogan and claim: Tierra y Libertad (Land and Freedom).

These are icebergs in the night, spilling and melting their dense materiality over the frame of Western rationality. A hyperkinetic reminiscence of the last night of the Titanic.

This is Warhol's haunted painting and its circular detour. Oily and greasy suppuration, as well as enchanted absorption as a harbinger in times of pandemic vortex.

"A film about the time of the blast furnaces — 1917-1933 — about the development of an industry, about a perfect machinery which had to run itself to the point of its own destruction. This essay... on heavy industry and the gas of the blast furnace, convinces through the author's cool abstraction and manic obsession, and through the utilization of a single example of the self-destructive character of capitalistic production: 'The image of the blast furnace gas is real and metaphoric; an energy blows away uselessly into the air. Guided through a system of pipes, the pressure increases.

A political composition on natural resistance. These images are an expiring breath in danger of extinction. These images become extinguished, consumed: a drop, a pure intensity which only appears when falling. In the presence of the image these audiovisual crowds become an affected body, assaulted by entropy. A face exhausted and reanimated by the continuous sound trance that traverses the battlefield. Faces for an eye that would not need to see.

An homage to Walter Benjamin and other time-traveling artists and expatriates that have inspired me, especially Chris Marker. Benjamin, fleeing from fascism in the 1930s, took refuge in Paris where Biblioteque Nacional became his home away from home.

Part of paraconsistent sequence series.

A modulation of the discourse produces a portrait of the philosopher Slavoj Žižek during a dialogue.

White Sands is an experiential film installation on the visible and invisible manifestations of the nuclear industry on the land, air, water and people of New Mexico.

Cinematography: Liz Cash
Hand Film Printing: Sylvain Chaussee, Niagara Lab
Sound design: Stephen Vitiello 

White Sands is available through Video Data Bank as a three-channel composite. 

"This film is at once a self-portrait and an homage to Jean-Marie Straub, Farocki's role model and former teacher. Farocki's admiration for Straub was so great that he said of Between Two Wars, Perhaps I only made this film to earn Straub's recognition."  In this observation-driven film, Farocki documents the fulfillment of his wish. The film shows Farocki, under Straub's direction, rehearsing for his role as Delamarche in the film Klassenverhältnisse (1983). Anyone who has seen Farocki's documentary of the shoot will never forget these short scenes.

This is the common audiovisual system that interconnects the body of the workers and the industrial machinery of the actual system.

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 slow-motion film is a glass snow globe with dancers who topple and bounce off the sides of the frame. Re-purposed by Breder at his Dortmund retrospective as Weisse Tasse in which a video was projected on the side of a white cup.

Endless Dreams and Water Between is a feature film with four fictitious characters sustaining an epistolary exchange in which their “planetary thought” is woven with the physical locations they inhabit, visual and aural characters in themselves: the island of Manhattan, the island of Majorca, in Spain, and the islands and peninsula that form the San Francisco Bay Area. The characters’ reflections and dreams enact what could be described as “an archipelagic mind,” linking worlds, time, and space.

“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.