FASCISM(s): A Film in Six Parts

The Polish city of Łódź was under Nazi occupation for nearly the entirety of WWII. The segregation of the Jewish population into the ghetto, and the subsequent horrors are vividly chronicled via newsreels and photographs. The narration is taken almost entirely from journals and diaries of those who lived–and died–through the course of the occupation, with the number of different narrators diminishing as the film progresses, symbolic of the death of each narrator.

Based on a true story of inmates at KZ Buchenwald that risked their lives to hide a small Jewish boy shortly before the liberation of the camp.

In 1944 Poland, a Jewish shop keeper named Jakob is summoned to ghetto headquarters after being caught out after curfew. While waiting for the German Kommondant, Jakob overhears a German radio broadcast about Russian troop movements. Returned to the ghetto, the shopkeeper shares his information with a friend and then rumors fly that there is a secret radio within the ghetto.

Filmed from the last night of Tihar, festival of light, in Kathmandu 2025, exploring colour, light and stillness.

Leah Weiss, a Polish Jew, was first forced into prostitution at Auschwitz. Afterwards, she was victimized in medical experiments. Now, twenty years later, German war crimes prosecutors hope she will be their star witness. But can she stand up to the shame, the publicity, and the reliving of those experiences?

This is not just a “folkumentary”, but an invitation to reflect on the future of humanity on a planet where tradition and technology coexist, and where the unknown reminds us that there are still unanswered questions.

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An Editor recounts the diaries of a failed film production as they attempt to construct a new narrative from the remaining footage.

Short documentary consisting of archival footage and movies that depict the birth of the United States of America, from the Boston tea party to the Spanish American war

Graduation is approaching, marking the close of a chapter. I took my camera to Green Island, recording video letters day by day. But the camera became unruly, backup batteries went missing, and the trip began to go downhill. Typhoons arrived, and the video letters ceased... Finally, facing the sea beneath the sun, my camera non-responsive, I took a Dramamine, then boated back home.

The short film follows Endika, a director who, in the midst of a clash with his reality, transforms a documentary about paternal absence into a personal quest for reconciliation with his own father.

In a hallucinatory world of quiet chaos, a young couple is haunted in their home by a myriad of restless souls

A story of The Map and The Territory. Shot in BC, California, and Nevada. Original music by Tashi Townley, Jack Brintnell, Luc Wiebe, and George Lee.

One day, as you leave work and head home, something unexpected happens. Everywhere you go, paths begin to open and multiply. You can go anywhere you want, and with each place you choose, a new version of yourself emerges. You begin to disappear and in that disappearance you feel free: no longer being one, but becoming another, becoming many others. Individual experience gives way to the collective. A constant search for a place in the world. Walking toward the other, toward the unknown—yesterday, today, and tomorrow.

A short, silent, experimental film created by avant-garde created by Ukranian-born artist, Anna Malina.

"We Go Past Future" is an experimental paper collage film by Anna Malina. The film reimagines a series of Soviet films from 1919 to 1953, blending them into a unique visual narrative.

A continuously running two-channel installation, presented on 9" and 13" CRT monitors atop pedestals and overlooked by a green Kit-Cat clock. The smaller CRT bears a painted green square and is framed by a pair of crossed silver opera gloves, at whose intersection rests a vintage push-puppet of two boxers sharing a single red stand. Together, the two monitors display distinct video collages interweaving footage from Emerald Square Mall and the strike during its 1989 construction with remixed interferences from Channel J's Emerald City TV (1976–1979), Huge Video's Heat in the Night (1989), Genet's Un Chant d'Amour (1950), various cigarette commercials, The Wizard of Oz (1939), and a performance of a mylar-clad entity wrapping one of the televisions in videotape. The work has most frequently circulated publicly through its primary video channel.

Part ethnographic film and part experimental film, கோயில் (The Temple) is a hybrid piece of cinematography that questions the act of observing.

fifteen zero three nineteenth of january two thousand sixteen explores how everyday routines and gestures are transformed when a mother loses her child in the violence impacting Swedish outskirts since the early 2000s. The film resists simplistic media depictions of the suburbs and shows how a home can hold both mourning and the mobilization of women to fight for their own and others' children.

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