In Manhattan's Central Park, a film crew directed by William Greaves is shooting a screen test with various pairs of actors. It's a confrontation between a couple: he demands to know what's wrong, she challenges his sexual orientation. Cameras shoot the exchange, and another camera records Greaves and his crew. Sometimes we watch the crew discussing this scene, its language, and the process of making a movie. Is there such a thing as natural language? Are all things related to sex? The camera records distractions - a woman rides horseback past them; a garrulous homeless vet who sleeps in the park chats them up. What's the nature of making a movie?
A constant journey from outer space to a town in Norway, where we encounter small pieces of people’s lives.
Village, like a human being, is born out of love. Village, like a human being, is ruined, if left without love.
A man sifts through his dreams, dilemmas, memories, secrets and the poetics of love as he harbours his greatest desire, to simply die.
A cinematic journey through the world. Non-verbal.
Animator Ryan Larkin does a visual improvisation to music performed by a popular group presented as sidewalk entertainers. His take-off point is the music, but his own beat is more boisterous than that of the musicians. The illustrations range from convoluted abstractions to caricatures of familiar rituals. Without words.
"Des-authorized" is the combination of three stories, three realities that coexist and feed. The journey begins in the imagination of Elia K, the principal, who imagines Elijah, a character who is a poor playwright facing the crossroads to be true to his art, or succumb to the pressures of the producers must decide his work between surrender or pay the price of his freedom. On another level, we have Nina and Frederick, the protagonists of the work that Elijah is writing. They only seek to love, they are forced to leave the paper and press the Elijah to them the end that his story deserves, this is the starting point of "Des-authorized" a film set in an imaginary city , colorful and delusional. In the line of "Amelie" and "Stranger Than Fiction", brings a reflection on art, creativity, love and heartbreak.
A dedicated bird watcher observes a hawk and journeys to the limits of what it means to be human.
A dare from Swedishllama (UrolithicOak)
Seven actors are brought to an isolated house where they must stay in character for three days under constant surveillance.
Blind evolution. Seemingly arbitrary stages of the evolution in black-and-white drawings on rough paper.
A line is being extrapolated through a grid. When the line surpasses the boundaries of the grid, the process spreads to and reflects on its surroundings. Beyond each boundary the extrapolation of movement is causing deformation in a systematic but speculative way.
A secluded house in the countryside. And in it? A family cocktail of love, care, shared history and all kinds of gadgets and unfinished things. Or a space for living out the rest of one’s life peacefully.
An observer, who clears his mind and reduces the number of his means only to work with time and space. Not only does the observer reach certain pixilation ecstasy but also joins "the wave", absorbing him completely.
Derived from an installation, an asymmetrical orchestration of "motion paintings" pushing the limits of abstraction in the digital age.
I work with the interaction of space, and being in it, and the energies associated with them. The state of rest, then tipping over from it, and then returning to it again.
A series of vaudeville acts inserted in images of reality, meant to demonstrate the ephemeral nature of all things.
First part of the collaborative project "Brise-Glace" showing the diverse travels on the icebreaker "Frej". Directed by Jean Rouch.
A non-verbal visual journey to the polar regions of our planet portrayed through a triptych montage of photography and video. Landscapes at the World's Ends is a multi-dimensional canvas of imagery recorded above the Arctic Circle and below the Antarctic Convergence, viewed through the lens of whom is realistically an alien in this environment, the polar tourist. Filmed during several artist residencies on-board three expedition vessels, New Zealand nature photographer and filmmaker Richard Sidey documents light and time in an effort to share his experiences and the beauty that exists over the frozen seas. Set to an ambient score by Norwegian Arctic based musician, Boreal Taiga, this experimental documentary transports us to the islands of South Georgia, the Antarctic Peninsula, Greenland and Svalbard. Landscapes at the World's Ends is the first film in Sidey's Speechless trilogy, and is followed by Speechless: The Polar Realm (2015) and Elementa (2020).