Viva Algeria

Asdrúbal, O que há com seu peru?

Asdrúbal is the zoo sweeper, the handyman. One day, when he was feeding the turkeys, he noticed that one of them was talking.

Friends Jokes

The film tells a story speaks of "Yusuf ", a plumbing Man, who is exposed to many pranks by his friends.

Journey To Reformation

Jeff was an atheist, and midnight film director. 10 years later, he is in the ministry and making films that align with his Christian faith. This is his journey and testimony.

Morbid Angel: Live Madness '89

Live show, Grindcrusher tour, 1989.

Den danske satankult

Coins with Lucifer. Letters from a satanic cult, founded in the spring of 1973 on the Danish island of Anholt. Disturbing objects begin to appear in churches. Among priests, gravediggers, and church servants anxiety begins to spread.

The Secret Six

Bootlegger/cafe owner, Johnny Franks recruits crude working man Scorpio to join his gang, masterminded by crooked criminal defense lawyer Newton. Scorpio eventually takes over Frank's operation, beats a rival gang, becomes wealthy, and dominates the city for several years until a secret group of six masked businessmen have him prosecuted and sent to the electric chair.

To the Happy Few

The film is structured around the mystical idea of the mandala, in this case pictures of (fake) suns, galaxies and planets. These images are in sync with an Indian Bollywood song to enhance the pseudo-psychedelic effects. The film material covers a very wide range of found footage from various sources and decades from the Thirties (invisible woman) to the end of the 1980s.

昆仑兄弟

ECHO

Portrait of a family isolated from civilization, and the aspect of death, seen from the viewpoint of a child.

1-2-3

How can we visualize Body Ownership? We connected Body Ownership with an I-perspective, looking for images that uncover the multiplicity of the ‘I’ First person plural. Strapping two body cameras (GoPros) to our chests, we move in direct body contact. Our premise is that both I-perspectives of the cameras are at interplay with each other, showing that gaze is never produced by a singular entity. Instead, it is the result of bodies touching and reacting constantly to each other. The body cameras are joined by an external camera – a third-person perspective. While it may hold a position of power as the one who frames the image from the outside, it desires to dive into the collective I-perspective. BE-LONGING. At one point the gazes of the I-perspectives and the outside camera meet – they look at each other looking. Gazes conjoined with bodies. Body is spatiosocially bound, is situated.