Proximities focuses on the trope of the Malay Boy found in the works of Singaporean artist Cheong Soo Pieng (b. 1917-1983). It attempts to locate the Malay male in art history while unpacking underlying systems of power that have shaped and naturalised the understanding of difference.

Landscapes revealed themselves through text, paper through movement, while the sun gave them relief. This is a journey across found words, enunciating a discovery, their textures constructing the sea and the waves, in a travelogue from the first exploration, the first step over the sand towards the shore. “Amor” writes this joy to underline it in its time, captured on paper. This film has been composed through a scanner, and it’s the first chapter of the “Reír al Sol” series.
2025

Twenty images of a camera running next to a chemical platform and capturing abstract light throught improvised gestures and asymmetrical motion
2024

The author's erotic imagination is mixed between desire and magazine clippings, and the trade of collage becomes a ship that travels from outer space to the city itself.
2023

A sitting man listens to his thoughts, but can't catch any of them.
2023

"My first 16mm, Sightreading, was shot in August 2022 in Minneapolis and Chicago. It uses images from three sources: black mattes held in front of the sky near my parents’ house which were filmed and edited in-camera to a metronome; my friends drinking wine and discussing The Bachelor in their Chicago apartment; and details of a Breughel painting filmed from a television." -NC
2023

A roll and a half made to delight in color and the presence of friends. Steps toward learning to read in the dark.
2023

A short experimental film about the human race taking over nature.
2023

2023

A ritual of grids, reflections and chasms; a complete state of entropy; a space that devours itself; a vertigo that destroys the gravity of the Earth; a trap that captures us inside the voids of the screen of light: «That blank arena wherein converge at once the hundred spaces» (Hollis Frampton).
2021

Today, analogue video is attractive primarily thanks to the distinctive aesthetic quality of its pixelated image and raster errors. But for Czech artists who first explored the possibilities offered by video art in the late 1980s, this medium represented a path towards freedom. Through a portrait of her grandfather Radek Pilař, one of the pioneers of Czech video art, the director explores her own legacy of imperative creative fascination. Her film’s main story, i.e., the process of reconstructing the 1989 exhibition Video Day, contrasts this enchantment with life in the final days of the totalitarian regime, which different sharply with the adventures of those who decided to emigrate – whom the filmmaker also visits in order to discover forgotten works, get to know their creators, and re-establish broken ties.
2020

IDFA and Canadian filmmaker Peter Wintonick had a close relationship for decades. He was a hard worker and often far from home, visiting festivals around the world. In 2013, he died after a short illness. His daughter Mira was left behind with a whole lot of questions, and a box full of videotapes that Wintonick shot for his Utopia project. She resolved to investigate what sort of film he envisaged, and to complete it for him.
2019

Bits and blocks are the home of the Super Vario Birds who are dancing to the 8bit symphony of Ludwig van Beethoven.
2019

A dream where obsession for German as a second language mixes up with an obsession for neatness and cleanliness as a distinctive feature of the national culture in question seen from the perspective of a foreigner. The dream is not a nightmare only because the set it is dreamt into is the seashore of the mare nostrum, where the dreaming subject is perfectly at home. A homeland which she, in turn, in her more secret thus naïf dreams would dream of being cleaner and tidier as in the reality, especially in front of such beauty of nature. As is right and proper.
2018

2016

“Persistencies of Sadness & Still Days”, is a four hour feature film by Maximilian Le Cain and Rouzbeh Rashidi. Structured in two sections or ‘takes’ of two hours each, this dream-like, experimental project offers two complementary explorations of cinematic form that skirt around possible narratives, ducking through a series of fluctuating audio-visual categories and intensities.
2012

Flooded McDonald's is a new film work in which a convincing life-size replica of the interior of a McDonald's burger bar, without any customers or staff present, gradually floods with water.
2009

The innovative and influential British filmmaker Derek Jarman was invited to direct the Pet Shop Boys' 1989 tour. This film is a series of iconoclastic images he created for the background projections. Stunning, specially shot sequences (featuring actors, the Pet Shop Boys, and friends of Jarman) contrast with documentary montages of nature, all skillfully edited to music tracks.
1993

In the present work, the artists appears lying on his back, his eyes mostly closed, dreamingly listening to a walkman that plays, a recording of 'The Best of Lou Reed and the Velvet Underground'. The artist can hear the music through his earphones, but as viewers we are only privy to the sound of his voice that whispers the melody. As we listen to the hypnotic interpretion of the familiar songs - as emblematic for pop music history as 'Psycho' is for film - we are forced to mentally 'reconstruct' the remaining orchestration, instrumentation and vocals. We must attempt to reassemble something we already know to be a fact by negotiating the sticky mess of interpretation, meaning, and memory.
1993

Stan Brakhage is a film maker whose work is shown mainly at film festivals. His work has been likened to poetry. Brakhage explains his techniques and his motivation.
1985

Experimental short film by Barbara Sykes
1982