Lurker(2021)

Lip Balm(en)

A vent in the form of an experimental short film, Lip Balm is about finding ways to cope with what can feel like the lowest moments of one's life.

Fungi(en)

As he falls down the spiral of personal obsession; a delusional mycologist finds himself in the midst of seeking the unattainable. Morals won't play a role in his relentless pursuit of transforming his being into fungus.

Insomnia(en)

In the solitude of night, the veil of reality slips away to reveal our deepest fears.

Ego(en)

The permanence of awareness and the transient nature of ego. An external look into an internal awakening. The stark realization, the sudden death, and the everlasting peace.

Dirt(en)

Suffering is the sandpaper of our incarnation. It does its work of shaping us.

i am saved(en)

Feedback and religious radio noise

Memoirs of a Strangler of Blondes(pt)

First film by Julio Bressane shot in exile, "Memoirs" is a film about a man who repeatedly kills the same type of woman in same places, the same way. Filmed on the streets of London.

OctoGod(en)

An elusive graphic designer, who steals and retouches photos for his website, finds himself in another dimension after updating his website’s content.

Rosso(en)

For an anxious person, being trapped on a boat with someone you don't like can be the tense. Stuck for hours afloat, nothing on the line, bad conversation, and cold winds as resentment rises. Both people chained to a rod and tackle because one won't speak up and admit that they want to go home.

Fever Queen(en)

In a hallucinatory world of quiet chaos, a young couple is haunted in their home by a myriad of restless souls

The Shadow of the Cage(en)

Education is a caged bird. This short film pays homage to experimental cinema, which is characterized by the absence of narrative, lack of focus, paint or scratches on the screen, abrupt cuts and asynchronous sound. With the aim of redefining our way of seeing, exploring new spatial and temporal concepts.

The Things You Said On That Cloudy Day(en)

Lost Footage(en)

How would a found footage film look if the footage was never found? This conceptual art experiment questions the very nature of film and cinema while serving as an ironic tribute to the found footage horror pop culture. The found footage format provides the narrative justification for such a film to exist: the non-existence exists because the footage existed yet it was lost and never found.

El Nazareno(es)

"The Holy Spirit will come upon you,and the power of the Most High will overshadow you;” (Lc 1:35) The most important event in the history of the Christian religion occurs beyond the physical plane, when God himself touches humankind for the first time. This event will bring light and shadow together in one place.

When We Get to Heaven(en)

The sudden arrival of a group of enigmatic freaks in a dying dust bowl community throws the town into chaos, causing its flimsy social order to crumble.

Photographic Valarie(en)

Valarie sets up a photo shoot.

Não-Martírio(pt)

Flying Daddy(ja)

One morning, Papa transforms into a giant insect in the futon, emerges instantly in front of the astonished family, breaks through the window and flies into the sky. Short animation by Keita Kurosaka for MTV Japan.

Habit(en)

It's autumn in New York. Sam has broken up with his girlfriend and his father has recently died. World-weary and sloppy drunk, he finds temporary solace in the arms of Anna, a mysterious vampire who draws him away from his friends and into a web of addiction and madness.

Leda + Swans(en)

“Leda + Swans” depicts an infernal, mythic birth of cinema, dredging the violence and horror from Wallace McCutcheon’s comic short film “Photographing a Female Crook” (1904). Leda, who may or may not be a falsely accused young woman, is brought in for a mugshot by two officers. She first attempts to avoid the camera’s gaze, and, when overpowered and manhandled, contorts her face to ruin the photograph. However, her small rebellion proves futile; she was already being recorded, objectified, mapped, and co-opted by the Godhead of the director. As her body and image are repurposed and transmuted ad infinitum, the filmic universe also explodes into a supernova. What is born out of this suffering and manipulation is another example of our sublime medium and modern muse. She will not be last the Leda, and she may not even be the first. Who is the guilty party here? Is beauty a chimera in traditional cinema? Has the ephemeral cinema of the attractions and distractions era gone anywhere?