Are You Here for the Lightshow? (2020)

Thun (Ananda Everingham), um jovem fotógrafo, e sua namorada Jane (Natthaweeranuch Thongmee) atropelam acidentalmente uma pedestre. Eles fogem da cena do crime e retornam às suas vidas normais, em Bangkok. A partir de então Jane passa a ser atormentada por estranhos pesadelos, enquanto que Thun nota que em suas fotos aparecem estranhas figuras, parecidas com fantasmas. O casal decide investigar o fenômeno e encontra outras fotografias com imagens sobrenaturais. Paralelamente os melhores amigos de Thun começam a morrer, um a um, de forma misteriosa.

Thelma é uma jovem e tímida garota que acaba de deixar a casa dos pais para estudar em Oslo, onde começa a viver seu primeiro amor. Seu relacionamento logo é afetado pela intromissão opressiva de sua família, que com suas crenças religiosas fundamentalistas conseguem abalar a vida da jovem. Quando Thelma fica chateada, coisas estranhas começam a acontecer e esses fenômenos sobrenaturais só aumentam. Enquanto busca respostas sobre esses poderes que ela não consegue controlar, seus pais severos e religiosos se preparam para o pior.

Os brinquedos acham que Rex é um desmancha-prazeres. Mas quando Bonnie o leva para o banho, ele consegue reverter isso e passa a ser o lendário Festa-Sauro Rex!

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.

Um retrato da tarde cosmopolita paulistana através da ótica baiana dos documentaristas.

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.