Are You Here for the Lightshow? (2020)

25살의 사진작가 '턴'과 그의 여자친구 '제인'. 대학동창의 결혼식에 다녀오던 길에 한 여자를 차로 치고 만다. 두려움에 뺑소니를 치고 마는 그들... 다음날, '턴'은 자신이 찍은 사진 속에서 형체를 구분하기 어려운 무언가를 발견하기 시작한다. 두려움의 원인을 찾아 결국 사고 현장을 다시 찾게 되는 그들. 그러나 그 도로 위에선 어떤 사건 사고도 보고된 바 없다! 점점 더 혼란과 공포 속으로 빠져드는 '턴'과 '제인'. 뿐만 아니라 '턴'의 대학동창들은 하나 둘 의문의 자살을 시작하는데... 턴과 제인은 의문의 사진들이 찍힌 현장을 찾아 다시 셔터를 누르기 시작한다. 그리고 사진 속 '그것'이 그들에게 무언가를 말하려 한다는 것을 깨닫게 된다! 그들은 언제나 당신 옆에 있다... 당신이 원하건 원하지 않건 그들은 바로 당신 곁에 서서 당신에게 무언가를 말하고 있다!!!

오슬로대학교 신입생 델마는 도서관에서 아냐를 만나자 발작을 일으키고 쓰러진다. 엄격한 종교적 가정에서 자란 그녀는 아픈 사실을 부모에게 숨기고 아냐에게 끌리는 자신의 감정을 억누른다. 하지만 그럴수록 그녀 안에 잠재된 초자연적인 힘이 감당할 수 없을 만큼 용솟음치려 한다.

When Rex finds himself left behind in the bathroom, he puts his limbs to use by getting a bath going for a bunch of new toy friends.

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

An odd traveler named Nice Eyes walks the streets and deserts of Utah as his mind, body and soul deteriorate into a far more primitive state.

Dan, a guilt-ridden man attempting to escape a troubled past finds an oddly coloured stone whilst dumping incriminating items deep within the countryside. Soon after taking the stone, he begins to see visions and discovers that his deepest fears lie within himself.

Proximities focuses on the trope of the Malay Boy found in the works of Singaporean artist Cheong Soo Pieng (b. 1917-1983). It attempts to locate the Malay male in art history while unpacking underlying systems of power that have shaped and naturalised the understanding of difference.

"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.

It’s another one of those nights.

A mystical world where light and objects come alive to the rhythm of music. This strange choreography that only night-wonderers can observe.

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.

Watch drug-addled friends through the eyes of a kaleidoscope. See coloured shapes dance and flail around. Witness people clubbing, getting beaten up, dancing and being used as human guinea pigs – all these in segments held together by two French teenagers finding themselves waiting for Godot. Experiment Three is another trip into the disturbing and bizarre world of public service announcements, contorted into something confronting and colourful.

HE, the third work in the ongoing collaboration between Rouzbeh Rashidi and actor James Devereaux, is a troubling and mysterious portrait of a suicidal man. Rashidi juxtaposes the lead character’s apparently revealing monologues with scenes and images that layer the film with ambiguity. Its deliberate, hypnotic pace and boldly experimental structure result in an unusual and challenging view of its unsettling subject.

Homo Sapiens Project (201) was completed in 2021 as part of re-envisioning and restructuring Rashidi's filmography. This nineteen-hour experimental feature is constituted from many feature films produced between 2002 to 2014. These experimental features were made as a type of test or trial experiment. Rashidi assembled the films from footage accumulated over the years, archival footage, found footage and rushes donated by his close collaborators.

During an imaginary actors exam, in order to choose the best, the jury utilizes immoral ways of selection – spying, making conflictd, humiliating the applicants – in short, taking advantage of its power.

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.

Little is known of Jean Speck (1860-1933) beyond the fact that he opened Zurich’s first cinema. Rouzbeh Rashidi and Jann Clavadetscher consider the flittering black and white ghosts and shadows that he left in his wake in their phantasmagorical experimental feature film. This journey through a cinematic night probes the very essence of the cinematic image.

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.

Claire, trapped in an endless white void, is questioned by an unseen being with a series of patterns. One of them reminds her of her forgotten past.