Through the use of archival material and manipulated photographs to generate a memory, 'the archivist is dying' is a personal, experimental short, invoking the mystical and academic in composition of poetry. The project uses footage from American Folklife Center Archive, Alabama Department of Archives and History, Internet Archive, Prelinger Archives, Black Film Archives, YouTube, LAPL, and is sound designed using Free Sound, The WPA and the Slave Narrative Collection, and original audio.
A director suffering from writer's block, Marie-Pierre Genech finds herself facing a blank page as her producer Jackie Hégris gives her an ultimatum: to present something convincing by the next day.
Surface of the Film carries the surface tension of film into the analog process of film development. The film appears as if immersed in a solution of chalk, soda, salt, and soap—the same mixture Soviet DIYers once used to whitewash hospitals, schools, and orphanages. Here, too, the layer both protects and attacks. It covers up, lets traces emerge, and carries scratches, stains, and blurs into the emulsion. Through its own material, the film searches for an equivalent to human vulnerability where gendered, trans, and female bodies seek protection while remaining exposed to the violence of the gaze.
Mr. Herold is being harassed on the phone. He’s being pressured to buy something he has absolutely no use for. However, he has no idea just how skilled the salesperson on the other end of the line is.
A three-trailer footage experiment. The idea: Only every third frame from the trailers for Three Days of the Condor, Close Encounters of the Third Kind and North by Northwest was reassembled in a new order. The three soundtracks are mixed together.
A camera straight out of a video game hovers through artificial landscapes and portals. In a ghostly house, a fantasy video game is being played on a computer screen: how are virtual space, toxic masculinity, gaming and fantasy connected?
Altrimenti Inventa is an archival documentary that addresses the lack of representation of North African populations who migrated to Italy before the 1990s. It attempts an experimental reinvention of the missing archive, starting with the director's family history and then moving towards a more collective dimension, questioning the themes of identity, memory, and their relationship with what we choose to preserve and why.
A study of the photographic memory of many generations of Soviet people, drawn from personal archives, speaks through a poetic dialogue between a mother and son who never saw each other.
This project is dedicated to the memory of my family's life in Armenia in the 1990s, the so-called "Dark Years." During those years, there was no electricity in Armenia, meaning there was no heat or light in our homes.
Liza, a retired single mother, makes relentless attempts to save her daughter Tal — a transgender woman in rapid decline, involved in sex work and struggling with drug addiction.