Through the recounting of a dream—an image from the past that insists on reappearing—the film dissects and displays the very materials it’s made of: still photography, moving image, narration, as if these cinematic elements were minerals and gems in a museum showcase. In doing so, it transforms them into an evocative exploration of what is preserved and what is lost. An archive of broken and silent images? A mausoleum of time?
By weaving together fragments of memory and cinematic form, the film not only examines the nature of preservation but also invites reflection on cinema itself. What became of its promises, its potentials, or, to borrow from Gilles Deleuze and Thom Andersen, the thoughts we once had?

This is a 2 channel installation consisting of two separate films made by painting directly onto 35mm film and working with various chemical solvents. The two films are projected side by side and slightly out of sync, creating a type of 'visual stereo' as thePassengersy make random juxtapositions. The soundtrack being slightly out of sync creates an echo, so as the audience moves around the installation the sound changes, creating an aural sense of the space.

I focused on how the landscape is transformed when the wind as a weather phenomenon streams through the rice paddies cultivated by humans. It also portrays the lives of the farmers who cultivate these paddies and the local residents who share this environment.
Weather such as wind, rainfall and sunshine are important elements in cultivation, and humans cultivate and harvest while anticipating these elements, and in this way they sustain human life. Rice paddies are not protected like a greenhouse, and they are cultivated under harsh conditions such as typhoons, droughts, and cold weather.
I observed the constantly changing and transforming appearance of the rice paddies through the process of cultivation and weather. I expressed the changing landscape by connecting the sound of wind chimes, which reflect the weather, with the cultivation process.

In "Ghosting Mother", personal mourning rituals and processes of scanning and development intertwine to create a search for traces in the manifestations of memory. Starting from the destroyed grave of my mother, a search begins for the remaining apparitions. A mourning ceremony, a movement of remembrance, attempts at resuscitation. ghosting mother works with methods of autofiction and deals with questions of grief and its ritualization in bourgeois catholic contexts in an experimental documentary form. The self-developed 16 mm film reflects in its own materiality and its damage the failed attempt to record what has been lost.

"The Disappearance of Time" is a testament to the cyclical dance of life – of disappearance and becoming. Death giving way to birth, life and death intertwined.
The film speaks of the quiet resilience of the earth and our role as stewards of her future; the threads of her history woven into our very being and our story profoundly connected with her. Each grain of dust, each drop of water, telling a story of loss and rebirth, echoing the human experience.
Landscapes that once seemed eternal, fading, disappearing, with ever increasing speed, due to climate change and human impact. Glaciers melting. Their presence witness to an ancient time’s passage.
"The Disappearance of Time" is an invitation to embrace our place within the timeless dance of life, echoing the truth that in every ending lies the promise of a new beginning. Ultimately, it is a meditation on hope and that which survives beyond what we call death. v

"Transit" is a 16mm film poem with a soundtrack by Martin Bergande, a visual journey across the borders of the EU to the edges of Europe with the aid of tangential force and the means of transport car, train, ship and aeroplane across the borders of the EU to the edges of Europe.

“I love films that foreground the fact that you are watching film,” states British director Mark Jenkin, who in his film diary returns, among others, to the Cornwall locations which gave rise to his mesmeric Enys Men. The series of Super8 shots taken from his travels and the comprehensive voice-overs make for a fascinating mosaic of encounters, observations, formative quotations from cinematic and other works, and also possible fantasies. Here, Jenkin demonstrates his ability to give his films an appealing timeless quality and to connect the familiar with the curiously enigmatic. One hundred and one interesting facts from the filmmaker’s diary.

On trial is a woman without an identity. We hear her thoughts and recollections of life and, eventually, her hope for reincarnation. A CENOTAPH FOR JANE DOE includes dialogue from various Julie Newmar roles, set to a slightly altered track by Cluster. The montage of subjective-camera shots was sourced from 46 classic films.

In an elongated pan, mountain landscapes and misty images of animals are presented in an ethereal, ghostly way. Locus uses found footage black and white photographs of UFO observations from the 1950s and 60s. The UFOs are removed from these photos to seamlessly merge the remaining landscapes. Unforeseen animal death, often reported in UFO sightings, serves as a metaphor for human influence on nature. Intruders explores the boundary between science fiction and reality, investigating themes of reverse colonization, ecology, and human environmental impact.