Gina Telaroli

Here, a group of women tell of how they came to arrive at an isolated ashram atop a mountain and what life there has been like both before and after the death of their guru.

An American director, hired by German television to make a film about 9/11, re-stages a controversial photograph taken along the Brooklyn waterfront soon after the collapse of the World Trade Center.

Kinet's Halloween Omnibus feature.

Kinet's Halloween Omnibus feature.

The shapeshifting latest from the multi-hyphenate Telaroli is a moving elegy for that which gets lost over the years in a changing city.

An attempt to emulate in video the experience of watching Minnelli’s film on film.

An attempt to emulate in video the experience of watching Minnelli’s film on film.

Gina aka the graduate secretary.

On a late-summer Sunday in 2011, a female director gathers a team of filmmakers, writers, musicians, artists, critics, and friends in an apartment to recreate a scene from Michael Curtiz's Depression-era drama The Cabin in the Cotton. Over plates of pasta and glasses of red wine, a round robin of non-professional actors take turns performing the same scene, again and again, In different permutations. With a freedom Influenced by pre--Code Hollywood, cameras, phones, and laptops are scattered around & set at almost every possible angle, documenting the action both in front of and behind the camera as it unfolds, from rehearsals to equipment adjustments to the banter between takes. An intimate. playful, and spontaneous look Into the collaborative cinematic process emerges. a snapshot of the filmmaker's perennial struggle to capture fleeting moments before the day (and light) slip away.

On a late-summer Sunday in 2011, a female director gathers a team of filmmakers, writers, musicians, artists, critics, and friends in an apartment to recreate a scene from Michael Curtiz's Depression-era drama The Cabin in the Cotton. Over plates of pasta and glasses of red wine, a round robin of non-professional actors take turns performing the same scene, again and again, In different permutations. With a freedom Influenced by pre--Code Hollywood, cameras, phones, and laptops are scattered around & set at almost every possible angle, documenting the action both in front of and behind the camera as it unfolds, from rehearsals to equipment adjustments to the banter between takes. An intimate. playful, and spontaneous look Into the collaborative cinematic process emerges. a snapshot of the filmmaker's perennial struggle to capture fleeting moments before the day (and light) slip away.

On a late-summer Sunday in 2011, a female director gathers a team of filmmakers, writers, musicians, artists, critics, and friends in an apartment to recreate a scene from Michael Curtiz's Depression-era drama The Cabin in the Cotton. Over plates of pasta and glasses of red wine, a round robin of non-professional actors take turns performing the same scene, again and again, In different permutations. With a freedom Influenced by pre--Code Hollywood, cameras, phones, and laptops are scattered around & set at almost every possible angle, documenting the action both in front of and behind the camera as it unfolds, from rehearsals to equipment adjustments to the banter between takes. An intimate. playful, and spontaneous look Into the collaborative cinematic process emerges. a snapshot of the filmmaker's perennial struggle to capture fleeting moments before the day (and light) slip away.

Interview with the director of "Traveling Light" (2011) about her work as a filmmaker, critic, and programmer.

A New York stockbroker refuses to cooperate in a large securities fraud case involving corruption on Wall Street, corporate banking world and mob infiltration. Based on Jordan Belfort's autobiography.

Telaroli's third film in the "Amuse-gueule" experimental film series, featuring John Carpenter's "Elvis" (made for TV in 1979, projected and “re-recorded” in an apartment in 2013, revised on and for a computer).

A video art on Tony Scott's Spy Game

A video art on Tony Scott's Spy Game

An investigation of doubles throughout the history of cinema.

An Amtrak train pulls out of Penn Station in New York City on a cold, sunny February morning. The train moves forward as the landscape changes—the East Coast giving way to the Midwest. Passengers fill their roles, the snow begins to fall and the next train station is announced, all while the light continues shifting, bouncing, swelling and slouching into eventual darkness.

Telaroli's second film in the "Amuse-gueule" experimental film series, featuring footage from King Vidor's "Northwest Passage".

A movie* shot with a Sony PMW-EX1 camera, compressed and transferred to DVD, and played on a Philips 42PF9996/37 LCD HDTV. One scene from that movie recorded with a Blackberry Curve four different times, each time zoomed in a bit more. Four different videos imported into Final Cut Pro 6, superimposed on top of each other, compressed and exported to Quicktime, and finally uploaded to Vimeo. And what remains? Well, what was there to begin with?

A look at a young woman’s ritualistic experience spending a solitary three-months in winter, while caretaking a summerhouse in Nantucket. Comprised of just 28 shots.

A look at a young woman’s ritualistic experience spending a solitary three-months in winter, while caretaking a summerhouse in Nantucket. Comprised of just 28 shots.

Three years ago, honeybees started to disappear. Today there are at least 33% fewer bees in the U.S., and with bees helping to pollinate one in every three bites that we eat, everyone is at risk. We set out to discover what was plaguing these hives and learn how non-commercial beekeepers keep healthy bees alive.