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
Одержимая своей сексуальной соседкой, Джилл насильно удерживает Дженнифер в их общей квартире и предпринимает извращенные попытки сблизиться с ней...
Editor
Одержимая своей сексуальной соседкой, Джилл насильно удерживает Дженнифер в их общей квартире и предпринимает извращенные попытки сблизиться с ней...
Writer
Одержимая своей сексуальной соседкой, Джилл насильно удерживает Дженнифер в их общей квартире и предпринимает извращенные попытки сблизиться с ней...
Director
Одержимая своей сексуальной соседкой, Джилл насильно удерживает Дженнифер в их общей квартире и предпринимает извращенные попытки сблизиться с ней...
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.
