

The Elephant King(2017)
After being humiliated by others, "Shadfil" goes through ups and downs in so many adventures to finally win everyone's heart and become the real elephant king.

Movie: The Elephant King

فیل شاه
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Muhammad: The Last Prophet(en)
More than fourteen centuries ago, Mecca was filled with gambling, drunkenness, slavery, the mistreatment of women, and greed. The holy Ka'bah was littered with idol gods. Pilgrims came by the thousands to worship them. Quarysh, Mecca's ruling body, reveled in the their good fortune but cared little for the welfare of the pilgrims of Arabia.Against this dismal scene, a man named Muhammad (pbuh) retreated to a cave high above Mecca to pray. The events that transpired in that cave changed the course of human history.This is the story of the blessings of Muhammad (pbuh) - The Last Prophet.
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An astronaut lands on the moon with a simple goal: to capture an alien. But things don't go as planned...
Singing on the Construction Site(zh)
Don't forget to have poetry when making a living. This is romance. Even if you live in a sheepfold, you have a holy smile like a baby. This is romance. Listening to folk songs from the workers' hometown at the construction site in Shenzhen is touching. Once the song stops, you become eager for it. This singing series is also called "Sharing Hometown" and “Lingering Songs". You see, the eyes of the singing workers are shining, because we are all close to the Buddha.

Jugement Dernier(fr)
During a school trip to Italy, a group of schoolgirls stay in a convent. Emma shares her room with her friends Lydia and Alice. She feels attracted to Alice, but as the two girls get closer, Emma suddenly feels like the religious statuettes are judging her.

The Red Thread(en)
Mostly shot in San Francisco and Northern California, material filmed (using the camera almost as a p[r/a]inter, a means of shaping the visual world as film, but without reflection) in response to what that world was opening in me. "Material!" - analogies between weaving and spinning thread and images already a pattern within film history (e.g., in Deren) is here carried into further ramifications of unraveling and patterning in fabric- and cinema-making, as well as in personal and mythic dimensions. The open unfolding structure, which pulls away from the balanced design of much of my work, gives equal weight to the sound composition. Involves "opening" with its perils and ambiguities.

One Hand Don’t Clap(en)
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