Social & External
Self
"statues of yesterday" is a structural film that explores the nature of memories and their relation to time.
"Slaughter" is an experimental short film that delves into the archival and historical footage of the Iranian Revolution in 1979, depicting a symbolic narrative surrounding the ritualistic act of animal sacrifice, known as "Besmel." It serves as an allegorical representation of a nation's sacrifice amidst the backdrop of political transformations.
A man trapped in an aimless routine becomes the spectator of his own life as he wanders through the urban landscapes of his city in search of something that gives him meaning. Between memories and ghosts, he faces his doubts and longings, questioning what is real and what is just a projection of his loneliness.
A student moves into their accomodation, only to find their room already decorated, a strange, inhuman flatmate, and a kettle that won't stop boiling.
GIRI CHIT tells a tale of the subtle trace of irreconcilable worlds. A worker driving a mobile sweeper in hypnotic circles across an already immaculate surface. The high drama of cosplay aficionados clamoring to be seen. A cast of thousands toiling hundreds of feet above the street. Giri translates as ‘duty’ in Japanese, but the concept is in fact far more complicated. Giri is a sort of interpersonal political capital that informs careers, family relations, and much more. Its presence and flow is palpable in Japan, where this film was shot. A “giri chit” then may be a hypothetical voucher for this intangible flow (with a tip of the cap to Thomas Pynchon’s “Vineland”). Selected Screenings and Awards: DaVinci Film Festival (Best Experimental Film), Chicago Underground Film Festival, Athens International Film and Video Festival, Dallas Videofest, ICDOCS Film Festival, NewFilmmakers at Anthology Film Archives, Oxford Film Festival, Director’s Lounge Berlin
In an alternate reality where the decline of nations has given rise to corporatist regimes, any trace of culture or tradition is suppressed by these new leaders to prevent the masses from reclaiming a national identity. However, rebel cells have emerged to counteract this agenda.
Fiona and Grant have been married for nearly 50 years. They have to face the fact that Fiona’s absent-mindedness is a symptom of Alzheimer’s disease. She must go to a specialized nursing home, where she slowly forgets Grant and turns her affection to Aubrey, another patient in the home.
Lui, a struggling author with a heart condition, and his wife Elle, a retired psychiatrist, find their idyllic life shattered when Elle begins to succumb to the effects of dementia.
History as immersion and dispersion in the fragments of the past, a visionary journey accompanied by the voice of Patty Pravo. Presented at the Taormina Festival '97.
For years, Axel has cut off ties with his family, devastated by a tragedy for which he was made to bear responsibility. When the freighter on which he was cook stopped in his hometown, he decided to visit his mother, Françoise. It's a shock: she no longer recognizes him. Having Alzheimer's disease, Françoise now forgets whole sections of her life. Axel is the first of the siblings to disappear from his memory. Why him? What is he hiding behind this oversight? And while Ivan and Lucie have agreed to have her admitted in the center, Axel opposes it frontally and delays her departure to take care of her, despite the tensions. Between the mother and the son opens the face-to-face so long feared and yet necessary.
What are they? What do they seek? When all the lights go out, they will wander. And you will never see them.
A dreamlike depiction of fleeting aspirations.
A depiction of the varying passage of time.
A teenager contemplates his relationship with God and others as his days are filled with loneliness.
A pathetic love letter.
A poem in tap.
A photographer explores a city, contemplating the ethics of her medium.
A night of tortured and solitary sleep, in which fears unfold and a bell tolls.
Returning to his hometown one last time, a wayward love rat reignites friendships and reopens old wounds in one self-destructive weekend.
After concluding the now-legendary public access TV series, The Pain Factory, Michael Nine embarked on a new and more subversive public access endeavor: a collaboration with Scott Arford called Fuck TV. Whereas The Pain Factory predominantly revolved around experimental music performances, Fuck TV was a comprehensive and experiential audio-visual presentation. Aired to a passive and unsuspecting audience on San Francisco’s public access channel from 1997 to 1998, each episode of Fuck TV was dedicated to a specific topic, combining video collage and cut-up techniques set to a harsh electronic soundtrack. The resultant overload of processed imagery and visceral sound was unlike anything presented on television before or since. EPISODES: Yule Bible, Cults, Riots, Animals, Executions, Static, Media, Haterella (edited version), Self Annihilation Live, Electricity.
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