Fleshworm Dreams is a trippy, kaleidoscopic visual experience that pairs with an abstract, experimental nature record. Think of it like looking through a constantly shifting kaleidoscope—vibrant colors, strange shapes, and mesmerizing patterns swirling together in a beautiful, almost hypnotic way. It’s a chill, weird, and visually stunning ride, where the lines between nature and imagination blur.
A post-dubbed, micro-budget, horror-sci-fi anthology consisting of five tales woven together by the hallucinatory mind-melding of ceremonial slime drinking humanoids from another dimension.
Trapped and alone, a young man must confront the pain he's ignored when he finds himself face-to-face with consequence.
The first documentary that describes the official policy and coverage of the sixth continent. With humor and beautiful landscapes in 4k, we will find out if Antarctica is an example of global peace, science and the environment, the scene of the next great war.
A black-and-white visual meditation of wilderness and the elements. Wildlife filmmaker Richard Sidey returns to the triptych format for a cinematic experience like no other.
Sonzai Zone is a speculative fiction film on intimacy and loneliness after the normalization of ambient communication media. An unlikely encounter between Yún and Souvd takes place in a near-future where social interactions are largely based on the mediation of human presence, known as ‘Sonzai-kan’. Shifting between XR games, Immersion Arcades and spatial home displays, their insidiously orchestrated relationship escalates into extreme idealization. Meanwhile, Souvd’s ex-girlfriend Ntzumi launches into undercover investigation.
Using the opening paragraphs of Ralph Waldo Emerson’s essay of the same name as a point of departure, Circles employs lofi environmental textures to explore concepts surrounding circularity, sight, and the passage of time. Its world is flickering in and out of existence. It begins with footage of recognizable spaces and objects and gradually transitions into ever more manipulated, glitchy and transparently artificial and abstracted images. Textual interludes put the film in conversation with the viewer, contextualizing its images and their aged digital patina.
A group of high school graduates are invited to their five year class of 1995 reunion. Fourteen people, each from their own cliques of their past high school lives, make their way up to the old high school hang out spot, buried deep in the woods for the afterparty. As the high spirits and festivities continue, things begin to go gravely wrong, and quickly the party spirals out of control.
Beautifully filmed by New Zealand nature photographer Richard Sidey over the past decade around the polar regions, Speechless: The Polar Realm is a visual meditation of light, life, loss and wonder at the ends of the globe. This is the second film in Sidey’s non-verbal trilogy which is comprised of: - Landscapes at the World’s Ends (2010) - Speechless: The Polar Realm (2015) - Elementa (2020)
A compelling narrative told entirely through subtitles, lights, and chairs.
Lake gazes down at a still body of water from a birds-eye view, while a group of artists peacefully float in and out of the frame or work to stay at the surface. As they glide farther away and draw closer together, they reach out in collective queer and desirous exchanges — holding hands, drifting over and under their neighbors, making space, taking care of each other with a casual, gentle intimacy while they come together as individual parts of a whole. The video reflects on notions of togetherness and feminist theorist Silvia Federici’s call to “reconnect what capitalism has divided: our relation with nature, with others, and our bodies.”
A brief look into the disruption of expectations and also jackets.
A man struggles to live a normal life after an intruder begins stalking his every move.
A police officer finds himself worthless as he soon realizes there's no way he could put an end to a businessman associated with running a prostitution ring.
Following the unfortunate passing of King Kong in a workplace accident, his wife and son must embark on a cross-country road trip to collect and scatter his ashes. Operating under the guise of a road movie, the film acts as a reflection of the characters’ emotional journeys by creating both a meditative experience through the use of longform shots of landscapes, and a fleeting encapsulation of the world contained within a camcorder.