Genres: experimental

  • To reveal the fourteen windows

    “To reveal the fourteen windows” a collaboration with Denver-based Poet Julie Carr In crayon drawings Some persons lie buried in fire and some have been suspended in a wave Rain withdraws its praise

  • Atlantiques

    Sitting by the campfire, Serigne, a young man from Dakar, tells his two friends the story of his sea voyage as a stowaway. “Melancholic and mysterious, the film urgently and elegantly addresses the perils of illegal migration” (Andréa Picard, TIFF Wavelengths). Tiger Award for Best Short Film, Rotterdam International Film Festival, 2010; No Violence Award, Ann Arbor Film Festival, 2011.

  • in the nature of things

    The central image of in the nature of things is the Forest – sometimes fearful, sometimes a refuge, always mysterious, and the multiple associations and myths embedded in it – myths within which we live and which live within us – our collective history. But, unexpected moments, intensified fragments, catch us unawares – the present confronts us. For Emmanuel Levinas, the face-to-face encounter with another is a privileged phenomenon in which the person’s proximity and distance are both strongly felt. “The face opens the primordial discourse whose first word is obligation…the face speaks…the first word of the face is ‘Thou…

  • Dyketactics

    A popular lesbian “commercial,” 110 images of sensual touching montages in A,B,C,D rolls of “kinaesthetic” editing. ” “The images are varied and very quickly presented in the early part of the film, introducing the characters, if you will. The second half of the film slows down measurably and all of a sudden I found myself holding my breath as I watched the images of lovemaking sensually and artistically captured.” – Elizabeth Lay, Plexus

  • Small, Stupid and Insignificant

    “Small, Stupid and Insignificant” is a film about a family’s struggle with choosing to live. Marie is a single mother, her sister is in a coma, and her Mama is a rosary clutching leave-it-to-God kind of woman. Marie is haunted by her sister, who has been in a coma for three years, to pull the plug. And yet neither of them feels like living. This all changes after one intoxicated night when Marie meets a wandering spirit that helps her realize not only her sister’s wish for freedom, but also her own. Winner, Experimental Drama Award, Female Eye Film Festival…

  • Back View

    The Upper West Side has some of the tallest brick apartment buildings in NYC. The orderly but deserted and aging concrete courtyards, their metal stairs and shafts, register a dramatically changing atmosphere. This is a cinema that seeks to observe, obscure, shorten and protract, and redefine, while remaining open ended. Selected screenings: Views from the Avant Garde, New York Film Festival, 2011; Off and Free Film Festival (Seoul, Korea), 2011

  • Tableaux Vivants

    A rumination on cinematic time reversals as versatile continuums. Re-discovering the outdoors as (a stage) set where the natural is made to pose as the artifice. Selected screenings: Onion City Experimental Film & Video Festival (Chicago, USA), 2011; Views from the Avant Garde, New York Film Festival, 2011

  • Armoire (in 4 parts)

    A four-part study of motion, shape and colour inspired by a robin’s flight. “The aviary in the mirror, in-flight hide-and-seek, mischief on the wing.” – Mark McElhatten, Rotterdam Film Festival Consists of: “Armoire Prologue” (2:40, 2007), “Coda” (2:30, 2009) and two new episodes (2011). Selected screenings: Views from the Avant Garde, New York Film Festival, 2011; Festival du nouveau cinéma (Montreal, QC), 2011

  • Malanga

    Gerard Malanga reads his poetry for 24 frames, dances to Velvet Underground for 24 frames, reads for 23 frames, dances for 23 frames, reads for 22 frames, etc., until he is doing both things alternately one frame at a time. An experiment in audio-visual synaesthesia called discontinuous film. No frame is missed, however brief its exposure, because the synthaesthesia increases efficiency of both eye and ear.

  • Dissolving Forest

    “Dissolving Forest” enhances its subject as a dynamic living entity. Shot in a lightly foliaged forest, it consists entirely of tracking shots, using slow shutter speeds to create pigment-like smears and vibrant color. The location sound, sometimes ominous, places the seemingly bucolic locale near civilization. Visually, “Dissolving Forest” operates on three planes: the canvas-like background of the sky blown out to white, discernible forest in the middle ground, and foreground foliage reduced to streaming color-all tied together with frequent dissolves. As early spring progresses into the deep greens of late spring, “Dissolving Forest” becomes a painting evolving in its frame.