Miglia di tortuose catacombe si nascondono sotto le strade di Parigi, la dimora eterna di un numero senza fine di anime. Quando una squadra di esploratori si avventura in un inesplorato labirinto di ossa, scopriranno il segreto per il quale la città dei morti era stata destinata.

The film opens in 1945 with a young boy playing in his Chicago neighborhood, and then follows the adult Jita-Hadi as a returning Marine with heightened political consciousness.

As Above, So Below is a two-channel HD video that uses everyday objects to depict parallels between the cosmic and subatomic realms. The piece draws from the notion of macrocosm/microcosm as originated by the 16th century theologian Robert Fludd. Macrocosm and microcosm are terms from religious esotericism that refer to a vision of the cosmos reflected within a smaller part of itself. As Above, So Below is made with everyday materials to draw parallels between micro and macro – the commonplace and the divine.

For thousands of years, alchemists toiled to synthesize rare substances and universal cures, to manipulate the speed of natural processes. Today, a woman has her husband’s ashes transformed into a memorial diamond. Precious metals are extracted from obsolete electronics. What was once the world’s largest landfill– now also the final resting place of the World Trade Center’s remains– is being converted into a public park. The film intimately examines various transmutations, both microscopic and massive, that reshape matter and its meanings. What separates the permanent from the impermanent, the things we discard from those we preserve?

A close look at the assassin's lifestyle in the film.

This hushed, pared-down essay weaves together different facts and myths surrounding the moon: images, texts, and sounds are spun into a dense, delicate tissue of ideas, with humans both at the centre and infinitely small in this celestial context.