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In Liminal Beings, the artist films herself sculpting a life-sized doll made of skin, flesh and hair, drawn to the act of burying it and digging it up again. What begins as an artistic process gradually unfolds into an evolving narrative between creator and object.
“Brieftopia, Three or More Fools” is a speculative fictive film essay, a letter from the artist to the Iranian cartoonist Kambiz Derambakhsh (1942–2021). The narration moves between the Museum of Humour and Satire’s archive, focusing on Derambakhsh’s works, childhood...
“If it is a human thing to do to put something you want, because it’s useful, edible, or beautiful, into a bag, or a basket… then I am a human being after all.” Ursula K. Le Guin wrote.
In a California detention center, former film student Mohamed X reflects on his four-year confinement. Blocked from filming inside the opaque system, he recounts organizing a labor strike against $1 daily pay and a brutalized hunger strike, revealing the unimaginable realities of immigration...
Using the pine tree as a metaphor and through a photographic lens, the video essay Burn / Raking Light examines the transience of nature, photography, and our own existence.
In the film, we follow a group of individuals who look to be human but whose behavior suggests something else. They seem to be connected to each other through a sort of network or root system. Through sessions reminiscent of psychological personality tests, their perceptions and orientation...
Volcano draws its visual energy from the tectonic plates clashing under the Azores islands. Fromthe depths of the boiling earth to the surface of the celluloid film, an experimental documentary erupts.
Titles in distribution are rented to museums, art galleries, film festivals, curators, universities and other institutions. At present there are around 1200 titles, dating from 1924, available for distribution. READ MORE
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Aktivering Samtal! by Mats Eriksson for an extended screening at Gropius Bau
På tunnelbanan av Catti Brandelius och Underjordiskt sällskap av Guillermo Álvarez på Spårvägsmuseet
