Director
Jacobina is inspired to kidnap a man she believes is her abusive birth father.
Producer
On the last night before his brother leaves for war, a deaf writer must conquer his fears if dancing with the girl of his dreams should ever become a reality.
Producer
A surreal post-apocalyptic drama by Patrick Kennelly inspired by the clipping. album “Splendor & Misery”
Editor
A surreal post-apocalyptic drama by Patrick Kennelly inspired by the clipping. album “Splendor & Misery”
Writer
A surreal post-apocalyptic drama by Patrick Kennelly inspired by the clipping. album “Splendor & Misery”
Director
A surreal post-apocalyptic drama by Patrick Kennelly inspired by the clipping. album “Splendor & Misery”
Producer
룸메이트이자 친구인 둘은 사이가 좋을 때도 있지만, 대부분은 제니퍼에게 질투하는 질로 인해 묘한 기류가 흐른다. 나날이 제니퍼에 대한 동경과 집착이 심해지는데…… 제니퍼가 질의 존재를 무시하고 그녀의 썸남과 파티를 즐기고, 질의 대화 요구 또한 무시해버리는 일이 빈번해지자 제니퍼를 향한 질의 서운함은 분노로 치달아 걷잡을 수 없는 상태가 된다!
Editor
룸메이트이자 친구인 둘은 사이가 좋을 때도 있지만, 대부분은 제니퍼에게 질투하는 질로 인해 묘한 기류가 흐른다. 나날이 제니퍼에 대한 동경과 집착이 심해지는데…… 제니퍼가 질의 존재를 무시하고 그녀의 썸남과 파티를 즐기고, 질의 대화 요구 또한 무시해버리는 일이 빈번해지자 제니퍼를 향한 질의 서운함은 분노로 치달아 걷잡을 수 없는 상태가 된다!
Writer
룸메이트이자 친구인 둘은 사이가 좋을 때도 있지만, 대부분은 제니퍼에게 질투하는 질로 인해 묘한 기류가 흐른다. 나날이 제니퍼에 대한 동경과 집착이 심해지는데…… 제니퍼가 질의 존재를 무시하고 그녀의 썸남과 파티를 즐기고, 질의 대화 요구 또한 무시해버리는 일이 빈번해지자 제니퍼를 향한 질의 서운함은 분노로 치달아 걷잡을 수 없는 상태가 된다!
Director
룸메이트이자 친구인 둘은 사이가 좋을 때도 있지만, 대부분은 제니퍼에게 질투하는 질로 인해 묘한 기류가 흐른다. 나날이 제니퍼에 대한 동경과 집착이 심해지는데…… 제니퍼가 질의 존재를 무시하고 그녀의 썸남과 파티를 즐기고, 질의 대화 요구 또한 무시해버리는 일이 빈번해지자 제니퍼를 향한 질의 서운함은 분노로 치달아 걷잡을 수 없는 상태가 된다!
Director of Photography
This short-form documentary video shot in South Sudan, is both a work of and a commentary upon cultural exploitation. It is a self-consciously “cinematic” recreation of a journey through a land plagued by the ghosts of colonialism and the present anxiety of conflicting religious and political agendas - both of which can often seem one and the same. Evoking a surreal sense of place, both very present and very distant, the video depicts the hazy lines between notions of “foreign aid” “missionary practice” and “colonialism,” and shows the ways history has of recycling itself. The essayistic, experimental nature of the work is inspired by the politically charged silent-era montage of Dovzhenko, Vertov, and Eisenstein and the later impressionistic film and video works of Marker and Godard.
Editor
This short-form documentary video shot in South Sudan, is both a work of and a commentary upon cultural exploitation. It is a self-consciously “cinematic” recreation of a journey through a land plagued by the ghosts of colonialism and the present anxiety of conflicting religious and political agendas - both of which can often seem one and the same. Evoking a surreal sense of place, both very present and very distant, the video depicts the hazy lines between notions of “foreign aid” “missionary practice” and “colonialism,” and shows the ways history has of recycling itself. The essayistic, experimental nature of the work is inspired by the politically charged silent-era montage of Dovzhenko, Vertov, and Eisenstein and the later impressionistic film and video works of Marker and Godard.
Writer
This short-form documentary video shot in South Sudan, is both a work of and a commentary upon cultural exploitation. It is a self-consciously “cinematic” recreation of a journey through a land plagued by the ghosts of colonialism and the present anxiety of conflicting religious and political agendas - both of which can often seem one and the same. Evoking a surreal sense of place, both very present and very distant, the video depicts the hazy lines between notions of “foreign aid” “missionary practice” and “colonialism,” and shows the ways history has of recycling itself. The essayistic, experimental nature of the work is inspired by the politically charged silent-era montage of Dovzhenko, Vertov, and Eisenstein and the later impressionistic film and video works of Marker and Godard.
Director
This short-form documentary video shot in South Sudan, is both a work of and a commentary upon cultural exploitation. It is a self-consciously “cinematic” recreation of a journey through a land plagued by the ghosts of colonialism and the present anxiety of conflicting religious and political agendas - both of which can often seem one and the same. Evoking a surreal sense of place, both very present and very distant, the video depicts the hazy lines between notions of “foreign aid” “missionary practice” and “colonialism,” and shows the ways history has of recycling itself. The essayistic, experimental nature of the work is inspired by the politically charged silent-era montage of Dovzhenko, Vertov, and Eisenstein and the later impressionistic film and video works of Marker and Godard.
