Combining home movies, 16mm footage, audiotape, and an original score, Gallisá Muriente’s poetic excavation oscillates between chronicle, dream, and document. Where people and nature meet, she uncovers environmental and colonial memories from her grandmother’s past and in the landscape of Puerto Rico.

formula, a constantly evolving work updated with each presentation, is a perfect synchronisation between sound frequencies and the movements on the screen. It places the viewer in a binary geometry of space and exploits the darkness to amplify one's perceptions. There is a complete integration of the various elements, composing music, images, lighting and orchestrating the relationships between them through a highly precise score.

A three-channel video installation, working with the themes of risk, hybridity and the unfathomable to explore the city of New Orleans through the remarkable life and times of Charles “Buddy” Bolden, the first person known to have explored the sonic tonalities of the music we now call jazz.

In the outer districts of West Berlin something strange is happening. Justine is getting a mysterious device by a person, which is called "The Hairs From The Cross Of Jesus". After her life is in total change. A surreal multi layer narration mindfuck film by Cosmotropia de Xam revisting the original locations of Zulawski's Possession (1981).

Waking up in a locked room, a prisoner must overcome their personal demons in order to move on from heartache and earn their freedom.

An experimental short film about the depressive scenery of Eastern European winter

"After two years of massive didacticism in black-and-white [Hapax Legomena (1971-72)], I am surprised by Tiger Balm, lyrical, in color, a celebration of generative humors and principles, in homage to the green of England, the light of my dooryard… and consecutive matters." - HF

An analysis of film’s persistent relationship to sexuality, mediated by allusions to early cinema’s flicker, and other aggressive qualities of the cinematic apparatus.

The cinematic kiss is probably one of the most archetypical images to be found in film history. It is usually a reassuring and sometimes climactic element in a movie's storyline.  Not in Nicolas Provost's 'Gravity' though: with stroboscopic effects, more than a dozen kissing scenes, most from stereotypical 1950s romantic dramas, are edited together and superimposed. Narrative is subverted as the kissing is isolated from its context entirely; the action slows down and flickers back and forth. Every now and then, shots from different films overlap and match; protagonists merge and diverge again a few seconds later.  The sugary and dramatic soundtrack of romantic film music contrasts with the deconstructed images; together, they form a dazzling 6-minute vertigo where love becomes a passionate battle.