Quarta Cinza

Daniela (24) is a ghost in pain. Her life ended suddenly and painfully, leaving her friend and roommate, Mónica (22) alone in their shared apartment in Santiago, Chile. Daniela feels her frustration grow within her, as she fears that her time in limbo will never end.

An unknown girl breaks out of her daily grind by undergoing an intense audio-visual trip.

A reframing of the classic tale of Narcissus, the director draws on snippets of conversation with a trusted friend to muse on gender and identity. Just as shimmers are difficult to grasp as knowable entities, so does the concept of a gendered self feel unknowable except through reflection. Is it Narcissus that Echo truly longs for, or simply the Knowing he possesses when gazing upon himself?

"When Mollie's routine between a real and surreal gets interrupted by an uncalled visitor, the line between reality and dream blurs."

Through Martian horizons, she gazes upon the world she’s only known through tales of scrap screens. Colors altered by fading memories, and shapes molded by imagination... Her perception of Earth, a symphony played by fragmented notes, an artwork painted by distant echoes. In the embrace of Mars, she carries the fractured essence of a heritage lost in space. Generations adrift in the solitude of the Martian plains, lives in a kaleidoscope of the world.

Max Devereaux and Suko Pyramid documentary about the making of their first three albums together as a duo and the story of their inspiring, international collaboration. Produced entirely remotely, featuring never-before-seen photos, videos and audio as well as interviews with close collaborators from all over the world.

An adaptation of a children's poem called Chanson des escargots qui vont à l'enterrement by Jacques Prévert, starring Joseph Gordon-Levitt. Filmed in Paris, France and Los Angeles, California.

It would be chess that brought nightmares and hell to a dreamlike, fairy-tale universe. Chess was trying to manipulate the universe and humanity. It controlled its own destiny. Time had stopped, and now flowed with strategy. To stop it, a fair match had to be played as a last resort.

In this 60 second art piece, a dog named Layla is called upon by nature to defend harmless daisy flowers from the wild grass that is conquering their territory.

A conversation between reality and consciousness.

Man is constantly confronted by the one eyed beast. When peeking through the hole in his box, he discovers a truth that transforms his life. Every time the beast observes him and the darkness approaches his box, he becomes an embarrassed being.

Alinur, a student filmmaker, tries to make a film about the apocalypse for his capstone project. The movie itself happens to be about a mercenary named M who inadvertently causes an apocalypse. As he tries to “create” the destruction of this supposed apocalypse through utilizing technical gimmicks that he has enforced onto the production of the film, this supposed effort also creeps in as a force that starts to “destroy” him, piece by piece. The outcome of it tests the sincerity of not only the film itself but also of the performative efforts that Alinur has made as a filmmaker—even this test might not be as sincere as it seems.

Juan Méndez Bernal leaves his house on the 9th of april of 1936 to fight in the imminent Spanish Civil War. 83 years later, his body is still one of the Grass Dwellers. The only thing that he leaves from those years on the front is a collection of 28 letters in his own writing.

Seeing himself as a form unable to experience intimacy, he is given the chance when brought to the household of twin sisters.

After stumbling upon a surreal scene of a Wolf eating his birthday cake, a troubled boy finds himself stuck in a desperate struggle trying to convince his skeptical friend of what he just saw. When his friend refuses to believe him, the situation gets dramatically worse as worlds unravel and true human nature is revealed.

The story takes place in the landscapes of La Spezia, where urban and rural environments intertwine. Water plays a primary role as a form, alongside the circle (e.g., bicycle wheels, pizzas, clocks…), which sets the rhythm of the character’s life, dynamically accelerating until it becomes very fast. The overlapping forms invite the viewer into the cyclical rhythm of the short film, moving from the spinning bicycle wheel to the washing machine drum in the character’s bathroom, from a freshly tossed pizza to the delivery mailbox, and finally to a dead-end wall. Savana is a race against oneself and against others; it’s a matter of decision and unpredictability — it’s black or white.