“An Untitled Film” by George Alshevskij-Jones is a short documentary/visual essay about the struggles of moving to seek a better future in a different country. The research for the film was done by observing and talking to people who have left their home country. It doesn’t matter what country a person has left and in which country he has found himself, the general experiences and emotions stay the same. The most important message that I want the film to convey is that everything is possible and home is not a place on a map, but a place in the soul of each person that I spoke to. The unconventional way of showing many people as one is not just a way of making the film more convenient to create, but a way to fit a much information into one consistent image, that the audience is more likely to understand and perceive as the author intended it. My own experience blended in with the experiences of others.

Documentary on the New Year's eve assault on Grozny during the Russian-Chechen War

A man is caught in a black and white limbo. The metaphysical properties of the environment are his worst enemy and his only chance to escape.

Follows a group of female escorts who are living life as best they can.

a highlighted printed memory that faded its own color.

A woman lies calmly in an infinite abyss. She can't breathe. Is it a man who follows her? A group of people? What is it? Is it all real? Is it all in her head?

A BFI production from 1964, directed by David Gladwell, who is best known as an editor of films like Lindsay Anderson's If.... (1968) and O Lucky Man! (1973). This short was shot at 200 fps, depicting a series of pastoral scenes from a British farm, edited to produce a suggestion of violence in contrast to its visual beauty.

Filmmaker Cheryl Dunye's relationship with her brother is examined in this mixture of appropriated film footage, super 8mm home movies and Dunye's special brand of humor.

A discussion with political activist and social worker Manikonda Vedakumar about the cult film Maa Bhoomi.

Super8, b&w, 2024

A painter in the throes of a creative block finds inspiration thanks to a fascinating and mysterious gallery owner, but he can't expect the shocking consequences of their encounter.

SEM TÍTULO (UNTITLED) talks about the hardships of making a documentary of a topic as complex as sexuality, which is to this day a taboo in the society, approaching it in a comical way showing the steps that went wrong during the process until the end. Later the documentary becomes something more complex, where the real characters are the group of filmmakers themselves.

Emerging from the screen’s blackness, a small image appears at its lower edge. A young boy sits in a train clattering out of the station. Shortly after that another film image is visible at the upper edge: A man catches his wife cheating on him. More and more scenes appear until the screen fills with 12 sections. A different film is being shown in each one.

A performance film consisting of a string of five slow motion portraits of a young woman—recalling the stillness of photographs. Each portrait varies in length and gesture as her myriad expressions invite our gaze. With each action performed in dead silence, stretched to the limits of voyeuristic levels of comfort, the simple act of looking is made fragile. A curious exchange is established between spectator, creator, and subject through a careful appropriation and reframing of social media conventions and advertising iconography transposed into a cinematic space—pointing to a cycle of regressive media consumption. This piece continues a series of cinematic works finding the colonial gaze in both the ethnographic image and forms of dominant media as a means to dismantle hegemonic structures found in the culture of image consumption.

This video, in which two men—one of them in a suit, the other naked—engage in their daily morning routine in a shared bathroom, was made by Radim Labuda as his first video performance. Labuda’s early work is characterized by an interest in the dynamics of partner relations as well as broader social relations, in the representation of the power relations of domination and subordination but also subversion. Representations of physicality, including nudity, can imply self-acceptance, sincerity, and decisiveness or at other times inadequacy and insecurity, depending on the context.

A museum guide shows around the historical guns room. Weapon manufacturers exhibit their latest products at the trade fair. A girl decides to resist weapon circulation in society and destroys a stolen gun.

Far right radicalism cannot be innate, it is always a result of socio-economic frustrations. We asked our friends to try on the uniform of the National Corps and think about the far right political identity from inside.

Short experimental documentary with fragments of a home movie in which the filmmaker captures weekend strolls and tanks rumbling through the city.

Short film.