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Memória Presença
2021
The Bomb
Filmmakers use archival footage and animation to explore the culture surrounding nuclear weapons, the fascination they inspire and the perverse appeal they still exert.
2017
ami. exe
Wanderings of the young Ami in the streets of Kabukicho, Tokyo.
2017
Entrance to the Grand Burial Chamber
1 minute experimental film.
2017
Keep That Dream Burning
Rainer Kohlberger applied various algorithms to extract the noise from a vast number of action films and used this to reduce the dramaturgy of the narrative to its essence. keep that dream burning oscillates between maximum abstraction and pure blur. Within the blurriness, objects form and disappear. The surface allows the space to be conceived.
2017
Islands
ISLANDS explores a cinematic journey of two astronauts. As they enter Earth’s atmosphere the structure transforms. The spacecraft becomes the meteor from a myth of a tribesman; it triggers an old lady’s memory of a lover from her past. As these diverse characters converge in a plane of reality, we confront a particular form of gravity we covertly feel—falling in love.
2013
Let Us Persevere in What We Have Resolved Before We Forget
On the island of Tanna, a part of Vanuatu, an archipelago in Melanesia, strange rites are enacted and time passes slowly while the inhabitants await the return of the mysterious John.
2013
The Red Bank. James Joyce: His Greek Notebooks
This documentary aims to register this unknown side of James Joyce: His Greek Notebooks. Trieste. Bloomsday, 2013. Dance in slow motion, accompanied by text. By deconstructing the body, we turn it into a memory: of the body, of life, of texts. The biographical references to Joyce and Mando Aravantinou, combined with the diagonal slicing of the image, cancel the realism of the landscape, including that of the Narrator’s space/study. As a culmination, Joyce’s letter “A request for a loan in Greek” functions as a timely denunciation. Various routes through cities, such as Trieste, London, New York, and Athens; languages such as Greek and English. In addition to the primal myth of Ulysses, there is another issue: Greek is “the language of the subject of Ulysses”
2013
Colossal
Colossal explores the complexities of grief and the process of grieving as understood through the myth of a Man as he ventures through shifting landscapes ruminating.
2012
Taglish
At first, there was Tagalog, Gym Lumbera’s short and, to his mind, unfinished narrative about the infidelity that comes between a husband and wife in their twilight years, shot on film and reflecting his own real-life infidelity.. And then there was a storm, a real storm and not a metaphorical one, that flooded his house and submerged, and subsequently damaged, the only copy of Tagalog. This damaged version, entitled English, became the missing piece that completed the film. The new work is named after Taglish, the bastard hybrid, some say corruption, of Tagalog and English, and has become a meditation on love and language and the ways in which we betray and destroy them.
2012
OLO, the Boy from Tibet
A 6-year-old Tibetan boy leaves his family and flees to a refugee camp in northern India.
2012
Mapang-Akit
"Mapang-akit" is an offshoot of a documentary project made with an Icelandic filmmaker and uses the outtakes from the Hudas Hudas festival in Antique, where a community bonds over a large effigy of Judas Iscariot during Holy Week. Amidst it is a found story of a man who returns home to his death after pursuing a woman in a neighboring village.
2011
The Shining: Forwards and Backwards
An experimental film comprised of Stanley Kubrick's THE SHINING played forwards and backwards at the same time on the same screen, creating bizarre juxtapositions and startling synchronicities.
2011
Refrains Happen Like Revolutions in a Song
Sarah is a debt collector who lives among the inhabitants of the village of Guimbal on the island of Panay. She wants to find the young man who appeared to her in a dream and goes to the island of Negros. Here, as she interacts with the inhabitants, Sarah continues her search, gathering memories of life and war, dreams, myths, legends, songs and stories that she takes part in and at times revolve around her. She is the daughter of an ancient mermaid, a revolutionary, a primordial element, a virgin who was kidnapped and hidden away from the sunlight. “The film is a retelling of fragments of the American occupation. Dialogue, shot in the Hiligaynon language, is not translated but used as a tonal guide and a tool for narration. Using unscripted scenes shot where the main character was asked to merely interact with the villagers, I discard dialogue and draw meaning from peoples’ faces, voices, and actions, weaving an entirely different story through the use of subtitles and inter-titles.”
2010
Spirit House
A tale of 2 passages within the Spirit house. This is the first in a series that looks at the places we find our spiritual presence augmented, inflamed, or simply acknowledged.
2008
BLACKland
The film is a stage play hybrid showcasing dark and absurd sketches based on contemporary Hungarian news of the 2000's with campy, senseless musical interludes in-between. Highly experimental in nature that - like Marmite - will split its' crowd into ones that'll love it and others that'll loathe it. There's no middle grounds here. The topics included are: The Hungarian Olympians' doping scandal, political terrorism, the national elections... and more.
2006
The White Funeral
A bride walks on the desert. She takes off her bridal ornaments and turns into a harlot. A multitude of people crawl on their bellies, become sick and soon die. A volcano erupts. White ashes of lahar cover the earth. The bride remembers her betrothal and repents--symbolically paving the way for the resurrection of her people. A final bridal march into a new heaven and earth takes place.
1997
The Displaced View
The Displaced View traces a personal search for identity and pride, within the unique and suppressed history of the Japanese in Canada. Through an examination of the emotional and cultural links between the women of one family, the processes of the construction of memory and the re-construction of history, are revealed. Utilizing an innovative combination of experimental, dramatic and documentary forms, the film emerges as a deeply moving and compassionate love letter. Just as the official history of the Japanese Canadians has been thrown into question, so does the film’s fictionalized narrative, question documentary as truth.
1988
What You Mean We?
WHAT YOU MEAN WE is a surreal short film by experimental artist Laurie Anderson.
1986
Fantaisie érotique
1936