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With the help of his friend, an autistic circus performer must overcome a meltdown when an unfamiliar location leaves him overwhelmed.

A runner exercises in a local park, and suspects that he is being followed by another athlete. He becomes more apprehensive after an anonymous Instagram profile starts following him. Their interactions, both in person and online, escalate.

Two boyfriends wander beaches near New York City, finding shade under crude shelters they build from driftwood. FORT is a short, experimental process film documenting beach trips taken by co-directors Craig Hunter and Ryan Harman. They build forts with sheets, rubber bands, and materials (like driftwood) scavenged from the shore. These temporary shelters become an oasis for sunbathing, relaxing, and listening to music together. FORT deliberately subverts and disregards both chronology and geography to focus on the very process of constructing a beach fort.

A determined athlete faces a grueling rooftop gym class, pushing his limits to secure his name at the top of the board, but at what cost? As he battles physical and emotional exhaustion, this workout becomes a test of his willpower and resilience.

Charles Atlas has been a pioneering figure in film and video for over four decades. Atlas has extended the limits of his medium, forging new territory in a far-reaching range of genres, stylistic approaches, and techniques. Throughout his production, the artist has consistently fostered collaborative relationships, working intimately with such artists and performers as Leigh Bowery, Michael Clark, Douglas Dunn, Marina Abramovic, Yvonne Rainer, Mika Tajima/New Humans, Antony and the Johnsons, and most notably Merce Cunningham, for whom he served as in-house videographer for a decade from the early 1970s through 1983; their close working relationship continued until Cunningham’s death in 2009.