Watermelon Canned Juice (2021)

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.

A slow and ugly fairy tale based on the drawings of inmates at a psychiatric clinic where LaLoux worked.

A woman treads on a vague path of reality and dream

O filme faz ver que, entre quem registrava e entrava, marginalmente, em foco, havia o olhar feminino negro. Que encarava, numa afronta, a câmera...

Um curta experimental, rodado durante a pandemia do COVID-19, feito por uma pessoa só. Usando cenas gravadas e imagens de arquivo, o curta apresenta uma narrativa não ortodoxa para explorar os temas de autoidentificação, identidade, expressão de gênero e androginia.

A cada momento - mais uma memória. Mas às vezes a memória fica cega e o que resta fica nebuloso.

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.

Bill Morrison’s experimental short features decayed film reels from the lost, German silent film Pawns of Passion (1928).

A journey of light and movement through the gaze of the eye that manipulates them.

‘Films to Break Projectors’ glues, scrapes and splices 35mm, 16mm and 8mm film to create unprojectable celluloid collages. Reanimating the material reveals the colour music within and traces of ambiguous narratives that emerge from the complex loops. image - iloobia sound - iloobia / dissolving path cinema iloobia 2016

The screen is divided again and again until the picture arranged in ever changing strips bursts into whirring dynamic.

Clear Blue Sky is the study of movements, colors, shapes and their relation to sound. Visual effects are created through, not a lens, but an adjustable slit, which was attached in front of the image sensor chip of a DV camcorder, while shooting at Washington Square, San Francisco.

A short study for the optical printer, based on found footage of fire, on coloured light from the printer and chemical manipulations of the film emulsion. The film, consisting of 11 sections, changes from a traditionally centered image towards images that cover lengths of the filmstrip and originate from the material itself.

A study in visual rhythm with images of architecture in Manhattan, New York, using the technique I did for the first sequence in Sketch Film #3. All edited in-camera and hand-processed afterwards. This film was commissioned by Echo Park Film Center for the celebration of its 12th anniversary.

Conceived, drawn and animated live by a team of patients from a psychiatric clinic, this achievement presents, in the eyes of its author, less interest on a purely cinematographic level than on that of human experience. It is the disturbing wordless story of a woman and a man living in a strange setting where objects are endowed with life that they have chosen to tell us through this theater of shadow puppets in cut out figurines. Their characters will know a tragic fate since carried in the air by balloons, they will finally be devoured by a horrible dragon.

IFS-Film is a film made on an Atari Mega 2 ST computer using Forth and Assembler computer-animation software.

Organic forms are beating and resorbing, reflections dance to the rhythm of Henk BADINGS 'music, circles of light flash like disturbing eyes, perpetual metamorphoses evoke a great living and throbbing organism.

“Both NEW YORK LOFT and DOLL HOUSE convey a strong sense of resourcefulness, this ‘making something’ out of interiors, specifically domestic spaces. And domestic they are, in an avant-garde sort of way. The filmmaker gives plentiful evidence of arranging things, moving them, adjusting, placing and re-placing. First are poles and sticks found; second is fabric, sheets, pillows; in a third section we see round things. Circular magnets, machine parts, film cans and the like eventually become visually paralleled with the camera lens itself. The lens is seen as Barbara films into a round mirror. How different are the visions of this woman-with-a-movie-camera from Vertov of sixty years ago! Each extols the camera-eye, but Hammer replaces Vertov’s sociopolitical kino-truths with adventures in domestic space.” – Claudia Gorbman, Jump Cut

Puberty, sibling rivalry, and school crushes make up the small world that 10-year-old Vicky lives in. But the memories of birthday cakes and carefree days begin to get muddled when persistent anxieties set in to haunt the past. The clutter, clash, and recollection of her mistakes, insecurities, and triumphs reconstruct the ever-changing phases of Vicky's tween life. A stranger to her own self, director Vicky Lee reflects on the naive girl that she once was.