I am sitting in a room is a sound art piece by American composer and sound artist Alvin Lucier composed in 1969. The first performance of the work was in 1970 at the Guggenheim Museum in New York. In collaboration with his partner Mary Lucier. The piece features Lucier recording himself narrating a text, and then playing the tape recording back into the room while re-recording it. The new recording is then played back and re-recorded, and this process is repeated. Due to the room's particular size and geometry, certain resonant frequencies are emphasized while others are attenuated. Eventually the words become unintelligible, replaced by the characteristic resonance of the room.

Through an imagined dialogue with Jean Paul Riopelle, this experimental film updates the painter's legacy by seeking to build bridges with today's generation. Part homage, part self-portrait, this short film is above all an intimate reflection on the courage to be oneself.

Every winter, a small town in Castilla-La Mancha called Luzón transforms into a little hell. Its inhabitants, dressed as devils, venture into the darkness and roam its streets with horns, bells, and smeared with soot. Una dança non sancta could have been just an anthropological documentary. Instead, it delves into the inferno with the town’s residents to participate in and immortalize this unholy ritual.

In the summer of 1900, the first film camera was purchased by Mozaffar ad-Din Shah Qajar for Iran, and immediately the first Iranian moving images were captured by this camera. These images, in an obsessive manner, have embodied the mesmerized gaze of people. In the span of 79 years since the purchase of this camera, Iran has undergone two revolutions and two coups, and throughout all these moments, the camera has been present as the recorder of people's mesmerized gazes. These mesmerized gazes are in a way as if they are the ones looking at us, not the other way around. It seems like these gazes are trying to convey something, but what? No one knows. Now, we gaze at those who have gazed at us from a distant time.

A humanoid film robot spews its stream of consciousness throughout its allocated screen time.

Made primarily using 35mm black & white stills film, which was developed and scanned at home, the film explores themes of memories, nostalgia, and our relationship to still and moving image and how those two mediums differ in regards to how we process the passing of time.