In a world of perpetual change, the trilogy «One day the sun will only shine for you - Soames beaivvi beaivváš báitá dušše fal dutnje» takes us on a journey through our hedonistic and fragile contemporary age, where the shadows of our actions stretch far into the future. It is a mythological voyage through excess, unrest, noise, injustice, power, and pleasure, weaving the intangible cultural heritage of the indigenous Sámi people into the endless cycles of life.

They used to place coins on the eyelids of the dead so they could not follow the lives of the living ... surrounded by ocean we find no clear water ... in the absence of fire our soft tissues are burning ... yet our eyes stay open ..." Beginning in March 2025, large areas of South Australian coastal waters have been devastated by a harmful algal bloom, leading to mass mortalities of uncountable numbers of fish, invertebrates and other marine life. The causes are complex but all arise from the unmitigated effects of anthropogenic climate change. This video has been made from images of fish that have been killed by the bloom and washed up on beaches along the eastern side of Gulf St Vincent. The audio was created from samples taken from videos of living fish, crabs and squid recorded at Seacliff beach, South Australia, in January - February 2025, before the bloom hit. The text is what the fish might say to us, if only they could...

As the sun starts to set in a secluded wood, an unwelcome guest emerges from the periphery, drawn into a glittering snare. Time slouches, voices murmur from between the trees, and corrosion starts ahead of schedule. Be careful out there. You might catch your death.

Whenever I travel to places I’ve been to before, places near where I am in the present and places I’ve never been to in the past I’m reminded that nothing stands still and nothing stays the same. I also wonder what the intention was behind the restructuring of this or that in the natural world and what determined the way in which it was expressed. Sometimes it seems clear to me while at other times it doesn't seem clear to me at all.
So what will others will see in the future? Will they determine that there was a coherent and considered relationship to the natural world which made our present possible or will they see chaos and competing needs with little or no coherent consideration?
Eventually the world we know will disappear and will be replaced by a world we won't recognize even though it will be a world largely adapted and evolved in response to our dreams as well as our nightmares.

I used to find the dusk a very unsettling time, as though the approaching night was something to be feared. It was as if, once night fell you could not flee, and had to face unspecified consequences. Maybe the land remembers and the night will reveal what we might have done...

"The Disappearance of Time" is a testament to the cyclical dance of life – of disappearance and becoming. Death giving way to birth, life and death intertwined.
The film speaks of the quiet resilience of the earth and our role as stewards of her future; the threads of her history woven into our very being and our story profoundly connected with her. Each grain of dust, each drop of water, telling a story of loss and rebirth, echoing the human experience.
Landscapes that once seemed eternal, fading, disappearing, with ever increasing speed, due to climate change and human impact. Glaciers melting. Their presence witness to an ancient time’s passage.
"The Disappearance of Time" is an invitation to embrace our place within the timeless dance of life, echoing the truth that in every ending lies the promise of a new beginning. Ultimately, it is a meditation on hope and that which survives beyond what we call death.

A field guide: Flora evolving with environmental changes, and pollinators utilizing biomimicry. Natural objects are gathered, and sculptures of and from the landscape cast reflections of nature being infinite, self-knowing, and alive. Extinct species and stages of evolution are suggested, accompanied by field recordings capturing the underground soundscape of soil. Bird calls and wingbeats offer greetings and warnings. -A rock, a tree, a human—each dissolving into matter and transmuting into new forms.

Hi, my name is Weegee. I am a dog. On my license, it says I am a cockapoo, but I don’t know what that means. My parents adopted me five years ago and named me Weegee, after the famous photographer. They always tell me that I channel him, because I am a character, and hold my toys in my mouth like a cigar, just like the original Weegee. That guy called himself "Weegee the Famous", but I want to be famous-er.
The original Weegee was born Arthur Fellig (1899-1968). He was renowned for making photographs at crime scenes in New York City, starting in the early 1930s. Some say his moniker started because he was like a Ouija Board, and would arrive at crime scenes before the cops, clairvoyant or something. Others argue that it started when he was a young apprentice in the New York Times’ photo lab, where he used a squeegee to wipe down the prints in the darkroom. What I do know, because my Daddy, Eric Weeks, taught me, is that the original Weegee made some pretty great photographs. Eventually he moved away from crime scene photography because things changed in NYC, with fewer mob killings and stuff. So, this guy moved on to some other things, eventually moving to Hollywood and working on Stanley Kubrick’s film "Dr. Strangelove: Or How I Learned to Stop Worrying and Love the Bomb" as a still photographer.
He also made experimental films, with his most well-known titled "Weegee’s New York". He made it in 1948. He was really into special effects then. My Daddy asked me if I would like to make a short film, as an homage to my namesake. I was like, “As long as I can spend time with you on long walks through New York City, you bet!”
And so here is our film. I am the director of photography and the camera operator, while my Pops is the editor and producer. As the camera guy, I use Omni Pocket and Go Pro cameras on a harness, but my favorite tool is an inexpensive KSAD body camera that I wear on my collar. Nobody knows what I am up to, hah. They think I am just another cute pup on the street. And the capture is rougher, and rawer than the fancy cameras, much like the original Weegee’s film.
I sat through the daily rushes, of course, and was always given final say. At first, I questioned adding the appropriated footage from the original film, and other films based in New York City, but I was convinced when my father told me “Weegee, this is how I see this great City. I see it interpreted through others’ experience, I see it through the history of change, I see it through our common knowledge of past decades recorded by great film-makers. Weegee, I think you are a great film-maker, and you belong right next to the original Weegee and all those others.”
Complementing our film is an original score by Alex C. Huddleston, who distills my energy and the City’s zeitgeist into a composition that compliments the film while offering an homage to the Leonard Bernstein music that accompanies the original "Weegee’s New York".
My film furthers the understanding of the daily life of urban dogs. You will see through my eyes and my perspective. I am not sure if humans understand how many tires we see on our daily walks. I sure do hope you like it.