The Moaning (2021)

Rainer Kohlberger’s abstract film was created entirely without a camera. Through digital algorithms, he precisely arranged a rhythm of light and shadow that pulsates off the screen into our physical space with blinding intensity. The presence of light is almost felt as we are sucked into the image to become its ghostly accomplice. As we leave the theatre, the optical vibrations continue to haunt us.

An extrasensory phenomenon of being watched.

A ghost follows its non-existent shadow across a series of windows that gives light but no direction. As the ghost moves, a poem is read that serves as its guide.

With every moment – one more memory. But memory sometimes goes blind and what is left becomes hazy.

The pantun is about a game I (we) used to play pretending to be the characters in invented fairy tales. This time it was a snail. The images of multiplied me are out of time with each other, I give up and try dancing.

What would you do if a look from an old man told you that being young is the coolest thing possible? And what should you do if you're young but you do not know what to make of it?

An expression of time and memories.

Anchored to the heart of the King’s Cross redevelopment in London, the film takes the viewpoint of an arbitrary surveillance camera to trace the many flows of a privately-managed but public-facing square.

Gogu’s feelings living with his parents for the past 28 years and still being a (fat) jobless filmmaker.

Un joven Laloux, inmerso en el mundo de la pintura y las expresiones artísticas, ingresa como monitor en la clínica psiquiátrica Cour Cheverny de París, en 1955. Los espectáculos teatrales -marionetas y mimo- realizados por los mismos internados, son el reparto y guión para su cortometraje sin diálogos "Les dents du singe" (Los dientes del mono). El film se realiza con la colaboración del estudio ofrecido por Paul Grimault. La música la conduce Maurice Ohana y el corto se presenta en algún que otro festival amateur. La provocación de su obra por un sobreuso de un surrealismo denso, consigue la atención del público y de la crítica.

One man, one camera, one goal...to capture the essence of adventure. An experimental, often abstract new type of filmmaking process creating color rich visuals combined with a lush soundtrack that grounds the project. A unique cinematic experience.

Expansion remixes the images of Matsumoto’s Esctasis into an more colourful psychedelic short.

La narradora de este videoensayo, que va de la crónica al videoarte, ronda el aislamiento pandémico desde la autobiografía.

A man enters a passage and must choose to embrace either the persistence of time or the will of nature. Through improvised movement and choreography, this short film is a playful meditation on the body, space, and the present moment. The film was shot as part of Cinemovement Laboratory VI: Solo in Studio Plesungan, an art space run by Indonesian artist Melati Suryodarmo in the northern part of Solo, Indonesia.

In the woods, a young woman and man scuffle as they fight for life. Gently lit and accompanied with a soundtrack of soaring strings, this film by Jessie Oldfield and Adam Murfet explores vulnerability, connectedness and a renewed sense of self among the autumn leaves.

An experimental short film, shot during the COVID-19 pandemic, made by one person. Using recorded scenes and archival footage, the short presents an unorthodox narrative to explore the themes of self-identification, identity, gender expression and androgyny.

A short film about ties and gaps between a child and a parent. The author rediscovers letters her dad used to write her from prison. That love seems to be gone now. She decides to write back in hope to find the connection again. She puts in writing what could not be said: blaming him for family´s break-up but also trying to understand.

Sketch Film #2 (Tomonari Nishikawa, 2005, 3 min., super 8, silent, 18/24fps, b&w, USA) The second film in the series, showing my study especially in apparent shapes – a shape that cannot be seen in a single frame but only through a series of consecutive frames when projected. It was edited in camera and hand-processed afterwards.

Short film by Tomonari Nishikawa