Woman 1
Woman 2
Man 1
Man 2
A film essay loosely based on LIMITE (1931) and TRICÔ E PITANGAS (2011), shot during film production classes.
2022-04-07
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Quer colher pitangas!
A 16mm experimental short film loosely following a cormorant as it attempts to dry its wings.
in my darkest moment, fetal and weeping, the moon tells me a secret, a confidant As full and bright as I am, this light is not my own and a million light reflections pass over me, the source is bright and endless. She resuscitates the hopeless. Without her, we are lifeless satellites drifting.
A bleak, cryptic vision of life in contemporary Iran that eschews overt social commentary in favour of a very personal vision of stifled lives. Directed remotely by Rashidi from Ireland over Skype, the making of this unique film reflects the alienation it so compellingly portrays.
HE, the third work in the ongoing collaboration between Rouzbeh Rashidi and actor James Devereaux, is a troubling and mysterious portrait of a suicidal man. Rashidi juxtaposes the lead character’s apparently revealing monologues with scenes and images that layer the film with ambiguity. Its deliberate, hypnotic pace and boldly experimental structure result in an unusual and challenging view of its unsettling subject.
A boobs flasher tells us, a boobs flasher lets us see.
In this mesmerizing experimental film, a Stephen King television movie is compressed and transformed through hypnotic black and white collage animation that meticulously reconstructs and reshapes its supernatural drama to an eerie and profound effect.
Experiencing unexplained blackouts, an ex-military alcoholic desperately tries to stop them to save his marriage, only to discover they are triggered by a trauma his mind is fighting to forget.
A man (James Devereaux) sits on a park bench talking to the camera, trying to weave together a thought that won’t cohere while commenting on passers-by, his ‘guests’… Mysterious images intervene, overturning the serenity of the park-bench monologue. Rouzbeh Rashidi’s feature proves as engaging as it is elusive.
A camera crew travels through Thailand asking villagers to invent the next chapter of an ever-growing story.
Shot on 16mm celluloid across parts of New Zealand and Samoa, interdisciplinary artist Sam Hamilton’s ten-part experimental magnum opus makes thought-provoking connections between life on Earth and the cosmos, and, ultimately, art and science. Structured around the ten most significant celestial bodies of the Milky Way, Apple Pie’s inquiry begins with the furthest point in our solar system, Pluto, as a lens back towards our home planet and the ‘mechanisms by which certain aspects of scientific knowledge are digested, appropriated and subsequently manifest within the general human complex’. Christopher Francis Schiel’s dry, functional narration brings a network of ideas about our existence into focus, while Hamilton’s visual tableaux, as an extension of his multifaceted practice, veer imaginatively between psychedelic imagery and performance art.
Amanda's stoner slumber party is put to a halt when one of her guests is nowhere to be found.
According to an English legend, Joan of Arc never died at the stake. Her eyes were seared with hot pokers and she was deflowered by an English stud. She was then sentenced to wander on the battlefields, like a vulture, on the look-out for life and searching for any virgins left alive.
A photographer girl enters a street to take street photographs as usual and takes a few photos that she thinks are normal. When she washes the photos and hangs them, she sees that she is actually in one of the photos and goes in search of that person.
Visual haiku dealing with still and living life, ghosts and revealing light.
In SUNSPOTS, several 16mm shots of the sun are layered and superimposed, paired with a soundscape consisting of volcanos, fire, plastic and the audible solar sounds recorded by the Solar and Heliospheric Observatory (SOHO).
Little is known of Jean Speck (1860-1933) beyond the fact that he opened Zurich’s first cinema. Rouzbeh Rashidi and Jann Clavadetscher consider the flittering black and white ghosts and shadows that he left in his wake in their phantasmagorical experimental feature film. This journey through a cinematic night probes the very essence of the cinematic image.
A girl haunted by traumatic events takes us on a mesmerising journey through 100 years of horror cinema to explore how filmmakers scare us – and why we let them.
In Arnarstapi (Iceland), during a cabaret number, a mistress of ceremonies proposes to us a journey into the center of her organs to go and meet the original being. During the journey, the public enters into a trance to reach the ecstasy.
An experimental short film, shot during the COVID-19 pandemic, made by one person. Using recorded scenes and archival footage, the short presents an unorthodox narrative to explore the themes of self-identification, identity, gender expression and androgyny.