After their parents separate, 11-year-old Quique and 5-year-old Valentina move into a tiny apartment under their mother’s care. On their first Sunday with their father, he introduces them to his “new family” where the siblings discover that their half-sister is the same age as Valentina. Through a cinematographic diptych, we experience their emotions and perspectives, piecing together the director’s fragmented memories. The term “casa chica” (small house) refers to a form of concubinage in Mexican society. It involves a secondary family – comprising a wife and children – that some married men maintain separately from their primary family, known as the “casa grande” (big house).

In 19th-century Liverpool, we follow a trial that is as baroque as it is absurd, one that unfolds more like a spectacle than a legal proceeding: a corpse, with no name or origin, falls from the sky and is brought to court. Rules are cited, invented, followed, ignored, and disregarded; compromises and solutions are sought and found—unless fate intervenes once again. A film like a painting. One might almost think that this is not about law and justice, but about a compromise that looks beyond words for an external scapegoat and ensures cohesion. The chaos and confusion that remain in the process relegate the defenseless corpse to its place as a scapegoat. It is less about guilt than about its mere existence and function, which provides an occasion for the (self-representation of the living.

In a quiet small town, within the walls of an ordinary school, 14-year-old Wendy meets her fifty-year-old teacher, Mr. M. What first appears to be a caring and supportive relationship — a teacher genuinely invested in the well-being and success of his student — slowly begins to shift into something far more disturbing.
Caught between the innocence of childhood and the uncertainties of adolescence, Wendy grows up surrounded by her mother and her best friend, while Mr. M gradually takes advantage of his position to build a subtle but powerful hold over her. At first uncomfortable with his attention, Wendy is eventually drawn in by the validation, affection, and sense of importance he gives her. Through small gifts, daily WhatsApp messages, compliments, and intimate conversations, he places her on a pedestal and slowly becomes the center of her emotional world: her confidant, her ally, her secret.
Behind seemingly harmless encounters between classes, in school corridors, on café terraces, and through phone screens, a calculated pattern of psychological manipulation unfolds. What once felt like trust and protection slowly turns into emotional dependency and control, trapping Wendy in a toxic and suffocating relationship that will profoundly change her life.

Organising Principles of Experience is an experimental short in which an AI model, tuned to the writings and sensibilities of Maya Deren, collaborates with the filmmaker to imagine new films. It explores memory, possession, and the digital afterlife, questioning what remains when the past becomes data and how an artist might lay claim to her absent hero.