Live at Zillo Festival, Freilichtbühne Loreley, St Goarshausen, Germany, 16.Jul.2004 (3 tracks) // Promo Video (1 track) // Interview with Mozart, Lutz & Nanne (1 track) -

They say that in 1600s, long before the invention of photography, a scientist named Fumagalli, was obsessed with the idea of reproducing images. He discovered that by killing a victim and removing his eyeballs it was possible to reproduce on paper the last image imprinted on the person's retina. He named such tecnique "Thanatography". Today, the same kind of gruesome ritual and abominable crimes r

Experimental short by Keiji Aiuchi.

The great actor hurries to his dressing room after the raging success. He gets rid of Othello's costume and mask. He is trying to find his way back to himself. Does it have its own face?

It's a festival in the city. The crowd enjoying the jesters, firefighters and jugglers, cheering and laughing. But everyone is not having fun, Dag is fleeing from the cruel circus director Machiavelli. With the help of his new found friends Anna and Morgan he manages to escape to Circus Imago. But Machiavelli does not intend to give up the chase so easily.

A plague wipes out all the adults on the planet, leaving behind only children and a select few who are immune. [This short was produced as a proof-of-concept for a feature film, which is yet to be made.]

Gone Reach A Slow Descent Gone Live Always Live

Imago (an incomplete work) (2010) by Jon Rafman

Imagogie (from words: image and demagogy) was made with 16mm and super8 inside 16mm.

Monumental maps, the spectacles conducted around them, and the design of the street itself are all powerfully linked by themes of commemoration and recreation to stress the geopolitical objectives of the Fascist state in the 16mm reading, 'Imago Mundi'.

Jan Jedlička has been recording the Maremma landscape for three decades with various artistic means. He has systematically studied the topography of the region from the highest points, the large, simple shapes of hills and plains, the canal systems, the clean lines of the coastline. He observes the migratory fires set by local peasants to burn their fields and grass. The elemental structure of the landscape, the colours and reflection of the water surface emerge in the ever-changing light during the day and the seasons. The sequences and arrangements of the film develop a multi-layered dialogue between the landscape and the abandoned house. In the interior spaces of the house, in the play of light and shadow, from unexpected angles, from spots on the wall or patterns on the tiles, Jedlička reveals motifs that resonate with the physiognomy of the landscape.