Grand Entrance to the World of the Dead

Return to 'burn' only to find out you're already in that urn.

(Some of us) Still run down the same [mental&emotional] streets we revered/reproached/replaced as children.

On the Clickity-clack Express it's clear I'm always under duress, unless I forget.

Onward, upward, greener [redder] grasstures.

I really hope this is well-received. I really hope there's some sort of reprieve.

Shadows frighten what one oughtn't be gripping (that thing before/hind you).

Locked away but not away; somewhere nearby but unreachable, a periphery so notfaroff it's always in sight.

Hiding inside&out, writhing about, taken out&in.

Rather pointless, rather stilted, fetid; not what we want us going after.

Two men. Friends? Enemies? Lovers? Brothers? One is nothing, success or failure depends on two.

From a small cabin in the mountains of New York, Nina Breeder and Massimilian Breeder begin a journey across the United States. California is just the initial destination, but just as the edge of the surrounding landscape expands, so does their ultimate destination. A contemplation of nature and time along a raw journey in the American landscape.

An attempt to transform a Roman Western into a Greek tragedy. The hero of Instructions for a Light and Sound Machine is easy to identify. Walking down the street unknowingly, he suddenly realizes that he is not only subject to the gruesome moods of several spectators but also at the mercy of the filmmaker.

A psychedelic montage of home movie footage gives way to a silent western story.

1 minute experimental film.

A 'reversal' of Jean-Léon Gérôme's 1872 painting Pollice Verso.

As a family struggles to survive in rural isolation during the Great Depression, their daughter's secret affair begins a journey into the unknown.

Beyond all human restraint lies one's lugubrious layers of paint.

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Shot in the abandoned buildings of Gary, Indiana and the cornfields of Western Illinois, The Twenty-One Lives of Billy the Kid presents a fractured historical narrative without any real protagonist, one in which the titular character goes mostly unseen - Billy the Kid as the always-off-screen assailant, as a ghost’s laugh, as a shadow on the road.

Hallo Mabuse captivates through its reduction, in which a conspiratorial narrative takes place, but even more so, the images themselves appear ambiguous, obscure, untrustworthy. A nod of the head, which seems treacherous in its mechanical repetition, meets the profile of a bearded man who does not appear to react at all in a suggested counter shot. The slight flickering of the image further intensifies the impression of an illicit agreement, of witnessing a crooked handshake. The ringing of the unseen telephone and the constant ticking of a clock lend the events a limited temporality. Something is running out, and in doing so, is also already reaching its end, a ghostly final act, which is anticipated by an explosion and breaks off with the sound of a falling guillotine.