There are Ghosts in the Cloud Forest that suck the digital data out of humans to stay alive and to stay in the realm of memory. And there are also modern day Hungry ghosts who feed on the energy of political anger, racism and violence in our country. In return for the data of the living, these Ghosts from the Cloud Forest provide the spirituality of nature and the beauty of biology. This film was shot in the sacred Huangshan Mountains of China.

Negative/Positive Film is a hand-made, camera-less collage film composed of layers of erotic 16mm films from 1920s, 1940s and 1970s, intermingled with nature documentaries and layers of organic materials. This visual abstraction merges together both positive black-and-white film, and its negative black-and-white counterpart - on the same film base. This allows the film to exist in two versions, one positive and, the other negative. The artist once again uses the very delicate technique she has been perfecting over the past years of Emulsion Grafting, also known as Emulsion Lifting. The film is as an abstract remediation of female bodies dislodged from their original erotic context and, ripped away from their male co-protagonists. The man is removed from the picture, while the female body slowly merges with the body of insects and flowers at the crossroad between eco-criticism, decorative art, sculpture, and cubism. This unique film uses organic material, melted together with gelatine emulsion, first liquified then re-solidified, to produce a crystallized allegory of womanhood.

A butoh dancer (Atsushi Matsuda, of the internationally-renowned group Dairakudakan) travels across Tokyo on his way to rehearsals, traversing a subconscious landscape that bridges the interior world of the self with an exterior world that extends through the city to the cosmos. In reflecting on a dancer’s creative process, "A Crooked Path Through The Dark" offers a phantasmagorical look at the ties that bind the individual to the world around them, the connections we form with our environment, and the role of personal experience in shaping both lives and artwork. As storms boil and earthquakes rattle, we witness the visceral and moving process of destruction and renewal needed for the creation of a new performance.

A banker in present day London on a quest for knowledge, battling illness, and forming an eerie alliance with ChatAI, blurring the lines between reality and the digital world.

I killed you a dozen times, but you won’t go away. Maybe it’s because you’ve killed me first. Out in the cold, on a strange new globe.
"I Killed You a Dozen Times" immerses viewers in a captivating exploration of the aftermath of a traumatic breakup. The protagonist, driven to erase the other person from their existence, finds themselves exiled to a chilling and unfamiliar realm. As they confront the relentless echoes of their pain, the boundaries between reality and imagination blur, creating a surreal and introspective experience. "I Killed You a Dozen Times expertly uses the power of visual language and sound to communicate complex emotions and experiences. Through its striking imagery and sound design, together with the emotive poetry recited by the narrator, the film masterfully portrays the agony and emotional struggles stem from toxic relationships, a subject that is often challenging to express in words. The film's ability to vividly visualize and depict such complex emotions is a testament to its remarkable use of audio-visual storytelling."
Jane Ching
Sundance Film Festival Hong Kong, Hong Kong Arthouse Film Festival

A film-trilogy about war and children's lives.
Etude 1.
A white paper boat floats carefree on the waves. The girl looks into the water from the bridge and peacefully contemplates the reflection of the sun in the water. But everything changes instantly. The war begins. Anxiety grows with each step. And the child laughs, looking at the sun. But the one who has crossed the border goes to block the sun forever. The ship stops, the white turns black and the black turns white…
Etude 2.
A white living creature plunges into black water. Quenching its thirst, it spins in a dance. The dance stops. In the dark, a ray of light outlines the egg in the quiet. Expectation. Someone is just about to show up. A shot rings out. The red flows from the white form. The shot egg disappears in the dark. A white creature appears on the black water in endless motion...
Etude 3.
Spring. The ruined sculptures in the cemetery remind of the former presence of people, their suffering, the horrors that the war brought them. It seems like there are no living beings left on earth, only petrified statues and insects crawling on exanimate faces. Autumn. A ruined temple, from which the eye tries to find a way out into open space and finds only cracks and potholes. The war leaves ruins. But suddenly, amidst the dead silence, a child's cry is heard... val

Eastern white pines submerged under the waters of a hydroelectric reservoir on unceded Innu territory transform into flames. This exploration between water and fire illustrates our current climate emergency through multiple stories about the relationship between a community and it's land. In a dark, ambiguous environment, minuscule particles drift slowly before the lens. The image focuses to reveal spruce trees and tall pines, while Innu voices tell us the story of this territory, this flooded forest. Muffled percussive sounds gradually become louder, suggesting the presence of a hydroelectric dam. The submerged trees gradually transform into firebrands as whispers bring back the stories of this forest.

"Warhol on Climate Change" is short film that plunges viewers into an artistic alienation, capturing the enigmatic essence of Warhol's perspective on the pressing issue of climate change. Set against the vibrant backdrop of a bustling New York street, the film weaves abstract images of Warhol himself with the city's dynamic rhythms. Through a blend of fragmented visuals and dreamlike sequences, the film portrays Warhol as an observer of nature's metamorphosis in the face of environmental upheaval. As the city pulses with life, Warhol's detached yet profound gaze highlights the juxtaposition between urban vivacity and the imperceptible shifts occurring within the natural world.