Kapital Europe portrays two migrant workers in Brussels, as they navigate a journey marked by uncertainty and singular moments of joy. Reginald, a Romanian construction worker, struggles in the city’s informal building sector and contemplates returning to Romania. Niki, a young Greek newly arrived to the city, takes up work as a bicycle courier. Their stories reveal the unyielding forces of the capitalist system at work.
ELLIPTIC is a filmwork that considers an image as reflecting light. It looks at how brightly a beam of light is deflected as it hits an edge and transforms the image as it enters a lens. A delicately slow focus shift carries this movement along the cone of the visual field into a certain depth, and back again.
A Bunch of Questions With No Answers is a record of the questions posed by journalists to the US State Department during press briefings since Oct 3, 2023 about the ongoing genocide in Palestine. As the endless demands for clarification and accountability were repeatedly met with convoluted evasions, the artists chose to edit them out.
In Mother’s Letter, Sylvia Schedelbauer evokes her mother’s perspective. Drawing from her family archive, the film addresses the complexities of the mother-daughter relationship, often defined by unspoken tensions and unresolved histories. These dynamics are further explored within the context of mixed heritage between Japan and Germany, where differing life experiences shape their connection. These complexities unfold through a delicate interplay of fragmented images, archival material, and evocative soundscapes. Schedelbauer’s distinct formal approach, a meticulous choreography of light, texture, and rhythm, invites the viewer into the layered emotional terrain of their relationship, which, like personal history and cultural identity, is shaped by time and memory.
Placeholder is an attempt to keep it together in the face of absence: of a mother, of a memory, of something tangible. Hands holding rocks, hands gripping other hands. Images oscillate between dreams and recollection, distorted and transformed over time
We entertain ourselves 24 hours a day, and hate ourselves just as much during those 24 hours. Spending all of life attached to yourself can be both horrifying and beautiful.
Tom Cashman's second stand up special. Yes, he really did fall over just before the show. No, he doesn't want to talk about it. Toured in 2024 as 'Everything' and filmed at Stupid Old Studios in Melbourne on 12 October 2024.
The voices in Markus' head whisper to him that he is to blame for everything – just as his mother said. Years of accusations have destroyed him, and guilt has become a part of his being. As he dives into the dark world of his thoughts, he wonders: Does he really bear the blame, or is it just the echo of a toxic past?
A further iteration of the initial experiment, pushing the limits of data moshing, glitching, and digital corruption. This version refines and distorts the previous interlude, manipulating the raw artifacts to reveal new, unintended patterns within the fractured imagery.
A journey in search of traces through the profound processes of transformation of Albanian history. In the archives, in forgotten places and in the memories of different generations, fractures and continuities emerge, left by the transition from communist dictatorship to capitalist democracy. Adopting an essayistic-poetic approach, the film explores the images of the regime and the regimes of images, revealing how much the history of Albania is inscribed in the fabric of its present.
In the 1970s, a small Greek island emerges as a symbol of hope, freedom, and self-expression. Mykonos was "paradise on earth," and for some, it still is.
Forty shots of found material featuring trees blowing in the wind. Entirely sourced from the mid-to-late 2000s, a decade in which online video sharing was in it's infancy
For 26 years (1972–1998), Swiss dentist Julien Grivel treated Hansenites (lepers) free of charge in Greece. An inner journey that helped him see the world and life differently. “By adopting the language of the Greeks, I unconsciously adopted their thinking,” he says. His friendship with ex-hansenite Manolis Fountoulakis was a catalyst.