The gun pointed at the head is a delirium that expands into disorderly controlled chaos. “He Who Saw the Abyss” by Gregorio Gananian and Negro Leo, is like a car that enters the curve at 300km/h, but slowly. In an experimental whirlwind, moving between a noisy sound and an almost idyllic musicality, the film is structured out of a pile of images that seem as intimate as they are delirious, accelerating into a trance that is fragmented by a montage, signed by João Dumans and Gregorio Gananian, who strive to articulate an intense experience on the big screen.
When a behavioral science major investigates murders at Capps Crossing, she finds herself trapped in a twisted web of lies surrounding the local ranger and his son.
Sebastian, a grieving man, takes a janitor job on a university campus. While monitoring students linked to a professor’s death, he uncovers a ghost story that may be more real than anyone believed.
Brasília, 1986. Helena has barely settled in with her family in Brazil's futuristic capital when her husband leaves on a business trip. Stranded in an unfamiliar city, she questions her choices, feeling frustrated and lost. Her teenage son rebels and discovers his first love; her seven-year-old finds magic in unlikely friendships and unseen possibilities. In a democracy less than a year old, everyone lives in limbo—trapped between what was and what could be.
Mick learns about the death of his father through a phone call. Now he needs to return to a home he hasn't been to in 25 years to face his Demons. Director J. Robert Bellamy originally wanted this story to be told in film format, but would only get funding to make it as a series for Bell Fibe. This version is his definitive vision.
After moving to a farmhouse with her newly single mother and leaving her father behind, a teenage girl's curiosity awakens something strange within her, forcing a confrontation with her emerging desires.
Manuel's life is upended when Esmeralda, his lost love from 15 years ago, calls unexpectedly. Despite being set to marry another, he rediscovers Esmeralda, and they realize their love transcends time.
Comprised of excerpts of oral history interviews of North Philadelphia residents and photos from the John W. Mosley Photograph Collection of the Charles L. Blockson Afro-American Collection and other archives.
Alone on Christmas Eve, Michael makes a last-ditch effort to win back his ex-girlfriend. Although repelled by his sudden reappearance, the promise of $1000 buys ten minutes of Honey’s time as she reluctantly sits through his declaration of love. Michael’s dreams of a heartfelt reunion are shattered when he is promptly rejected by a stripper who refuses to participate in his fantasy, challenging toxic romantic comedy tropes normalized through contemporary media. Based on her semi-autobiographical stage play, Never Walk Alone, Julie Phan offers a desensationalized interpretation of sex work through an intimate representation of the person underneath the projection.
When the 2011 Christchurch earthquake struck, tattoo apprentice Bonnie Singh was inside Southern Ink, the studio where she had finally begun chasing her dream. The tattoo studio collapsed and Bonnie, trapped in the rubble, suffered a broken back, a shattered neck, and a brain injury that would affect her for life. With the help of fellow tattooist Jak Law, Bonnie is determined to push through physical and neurological limitations to master the craft of tattooing that once seemed out of reach. A story of resilience, reinvention, and the invisible scars we carry, this is not just a film about tattoos but instead is about what it means to rebuild a life and the importance of having a dream when everything has fallen away.
An audiovisual essay constructed from Super 8 footage filmed during camera tests for the short film ‘La Trampa’. Through gestures, light, and silences, it reflects on what the image reveals and what it leaves unsaid.