Time

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Filmed during summer 2019, Jesus Is King brings Kanye West’s famed Sunday Service to life in the Roden Crater, visionary artist James Turrell’s never-before-seen installation in Arizona’s Painted Desert. This one-of-a-kind experience features songs arranged by West in the gospel tradition along with new music from his forthcoming album.

Samba, Popping, and Jazz. Through these dance styles and documentary interviews, Bodies That Tell Stories seeks to discuss the standardization and whitening of dances that had their roots in Black people.

A film-performance that features all film footage shot by the author during 2024-2025 and is played at variable frame rates, from standard to minimal frames per second. One to three 8mm projectors and one 16mm projector can be used for the demonstration, so the runtime is variable. Trees and leaves, clouds and curtains, snow in the yard and water, hands and eyes, shadows and glare of light, days spent alone and meetings with friends. Light and darkness are the two poles between which this diary is flows, pulsates and shimmers. Raw diary of visual impressions captured with filmmaker's camera.

A theoretical exercise can stem from a physical one: using the camera as if it was the vibrating device placed on the olive trees for the harvest of its fruit, the final result is a series of original and intriguing images. The camera shakes, gets in and out of focus, and we don’t exactly know what is happening. At first this is a strange disorientation, but then you get used to it through the cyclical mechanical noise that joins the images. The words of a peaceful female voice allows you to frame the film: a visual exercise after all can also be free.

Cranes and Voices follows, on one side, people who hear voices and share their daily lives, and on the other, a collective of tenants who investigate their neighbourhood through its noises, its vibrations and its construction sites. The film moves through apartments, streets, meetings and moments of sound creation, where voices, urban noises and recorded materials are transformed into collective sound compositions and spaces for exchange. Sound appears here as an ambivalent force, at once invasive and generative, shaping the way we inhabit the city, other people and ourselves. Cranes and Voices invites us to pay attention to these singular listening experiences, to hear what they reveal about the housing crisis, about how mental health is viewed and about the ways we organise our shared spaces.

The horses in Denys Colomb Daunant’s dream poem are the white beasts of the marshlands of the Camargue in South West France. Daunant was haunted by these creatures. His obsession was first visualized when he wrote the autobiographical script for Albert Lamorisse’s award-winning 1953 film White Mane. In this short the beauty of the horses is captured with a variety of film techniques and by Jacques Lasry’s beautiful electronic score.

What we show in Milk is literally the best of the best when it comes to dairy farming, yet, as soon we view what happens from the perspective of the mother cow, it becomes clear that this is an industry that runs on the exploitation and suffering of animals. By using animation, we are able to show a unique perspective and tell the story of the mother cow in a way that cannot be done from investigative footage alone. Milk centres the cow as the protagonist of her own story and allows us to view what is happening to her from an up close and personal perspective. Organic, free-range, high-welfare, humanely raised. It doesn’t matter what label we put on dairy products, all dairy cows are victims of an industry that forcibly impregnates them, takes their babies from them, exploits their bodies and then sends them to a slaughterhouse to cut their throats. It's time to end the dairy industry.

Hanoise is a portrait of the little known, but very rich, experimental music scene from Hanoi, the capital of Vietnam. It showcases a diverse array of the city's musical mavericks and avant-garde explorers, merging the sounds of the city and the experimentations of a young community braving the local cultural prohibitions.

Julia always said that her upbringing as a biological child in a foster family was a happy time. But something is wrong. In The Foster Family, we follow director Julia's journey back in time, where she, together with her parents Ewa and Lennart and the foster child Patrik, recollect the shocking events that changed their lives over thirty years ago. The children are at the center of this strong, touching and warm documentary about a system where you can love, but not too much.

A hen questions the meaning of her life on a farm.

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A new type of cinema you can perceive with your butt hole.

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After so many generational repetitions and beneath so many layers is a territory to be negotiated beyond each person’s skin, inside: the cavity that echoes the intimate and singular identity of everyone. The voice that populate this film bring us to various spaces in Matera, from tourist agglomerations to the town’s internal spaces (grottes, caves, cisterns, lanes, rooms) and the body’s own unassailable space: pleasure and desire for other bodies that no one can cancel.

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In 1999, 11-year-old Nisha Platzer lost her older brother, Josh, to suicide. Twenty years later, her search for a specialized medical treatment leads her to the door of someone who was once exceptionally close to Josh. And so it is that she finally has the chance to truly know her brother through his chosen family. Captured over five years in which synchronicities continually manifested, Platzer’s documentation of these encounters gently asserts that both grieving and healing are meant to be communal experiences.

In early 2020, MUTA - International Festival of Audiovisual Appropriation and Cine Íntimo rescued and digitised a Peruvian archive of orphaned 8mm and Super 8 home movies. With the aim of restoring these lost memories, we sent the images around the world. This omnibus film is the result of the intervention of this material, by 14 experimental filmmakers. Fourteen perspectives and ways of experiencing appropriation. Fourteen variations on the intimate.

Canceled short film.

A pleasant tasting summer film made in New York and Searsmont, Maine. With poems by Daniel Shapiro (age five), performances by Dana Reitz, Yoshiko Chuma and Wang Pint; music by Duke Ellington and Gamelon of Bali.