state. (2022)

While video chatting one night, six high school friends receive a Skype message from a classmate who killed herself exactly one year ago. At first they think it's a prank, but when the girl starts revealing the friends' darkest secrets, they realize they are dealing with something out of this world, something that wants them dead.

妻に先立たれ、女子高生の娘マーゴットと２人暮らしのデビッド。ある日、勉強会に行ったはずのマーゴットが行方不明なことに気づく。警察に失踪届を出したデビッドは、担当刑事のヴィックとともに、マーゴットのパソコンにログインし、彼女の手がかりを求めてＳＮＳを探り始める。するとそこには、デビッドの知らないもう一人のマーゴットの姿があった。動揺しつつも、さらにマーゴットのＳＮＳを探っていくデビッドだったが…。

中古パソコンを入手したマタイアスは、鎖につながれ監禁された女性やドラム缶の中に入れられた人など、ぞっとする動画ファイルの数々が保存されている「UNTITLED」という名前の隠しフォルダを見つける。その内容に戸惑っていると、見知らぬアカウントからPCを返さないとお前らは死ぬ、というメッセージが届く。

人気女優とひと時を過ごすことができるという企画に当選したニック。しかし、マネージャーを名乗る男に女優が体調を崩したということでキャンセルされ、代わりに隠し撮りしている彼女の部屋のライブ映像をパソコンで閲覧できるようにしようと提案される。言われるがまま女優のプライベートライブ映像を見たニックは、やがて思いも寄らぬ事態に陥る。

A video editor for a news show in New York City receives government files containing footage from a police car's dashcam.

A zealous vigilante looking to clean the Internet of sin targets a group of teens that broadcast misadventures on their chatroom.

A small Youtuber occasionally makes half ironic videos for few to see. A half narrative, half experimental view of the numb feeling of consuming endless amounts of content online instead of doing anything else, forever.

This made-for-TV documentary introduces the layperson to concepts and technologies that were emerging in computer interface design in the late 1980s and early 1990s: hypertext, multimedia, virtual assistants, interactive video, 3D animation, and virtual reality.

A woman is attacked by Internet users after posting provocative remarks online. Using her personal information, they go to her place but what they find is her body; she took her own life. Who made her kill herself? Or, was she killed by someone else?

When a family can't be together on Christmas, they bring their dysfunctional family Christmas online.

"Normal Porn for Normal People" is an appropriated media piece that explores our societal need to consume violence for entertainment. The film offers a satirical commentary on the romanticizing and normalization of violent imagery, while observing the link to commercial consumerism that exploits human sexuality, while simultaneously demonizing it. Interview segments echo our endless need to devour salacious content by venerating both real and fictional violence. Sexuality and sexual images remain a convenient scapegoat that facilitate a continued avoidance regarding the impact that the glorification of violence has within American culture.

Summertime. In a camping, three little girls listen to an old mysterious story about a missing kid. They start to investigate.

The Black Film Series, a sequence of seven films made between 1965-69, is a primitive, sensory exploration of the medium, which ranges from total abstraction to the assassination of Bobby Kennedy, the Vietnam War, and black teenagers in Coney Island.

Through our eyes, the universe is perceiving itself. Through our ears, the universe is listening to its harmonies. We are the witnesses through which the universe becomes conscious of its glory, of its magnificence.

An assortment of obscure private obsessions, conspiracies and perversions flicker on the verge of incoherence against the context of vast cosmic disaster in Rouzbeh Rashidi’s boldest film to date. This sensory onslaught combines a homage to the subversive humour of Luis Buñuel and Joao Cesar Monteiro with the visionary scope of a demented science fiction epic.

A man (James Devereaux) sits on a park bench talking to the camera, trying to weave together a thought that won’t cohere while commenting on passers-by, his ‘guests’… Mysterious images intervene, overturning the serenity of the park-bench monologue. Rouzbeh Rashidi’s feature proves as engaging as it is elusive.

Popular teen video-bloggers became digital persons after being «hacked» by evil computer virus. They need to find their way back home from this «digital trap».

Weird Weird Movie Kids Do Not Watch The Movie is the second collaborative feature film between Rouzbeh Rashidi and Maximilian Le Cain. This hypnotic, visually and sonically immersive exploration of a haunted space unfolds in two parts. In the first, a woman (Eadaoin O’Donoghue) dissolves her identity into the ghostly resonances she finds in the rooms and corridors of a sprawling, atmospheric seaside basement property. In the second, a man (Rashidi), existing in a parallel dimension of the same space, pursues a bizarre and perverse amorous obsession.

Three witnesses to the invasion. Three accounts. Are they observing the same thing? Were there any warning signs? And, after all they’ve seen and heard, are they even competent to offer a reliable report? The purpose of this film is to demonstrate that an effort to construct functions known not to exist may on occasion produce interesting frauds.