Silent Film

The Red Sea is a subjective testament to an emotional and aesthetic journey. Touching on sensuality, pain and the inevitability of loss, the film moves across territories of significant yet unresolved images. As in a dream text, the viewer is left in a state of interpretation with great emphasis on the experiential.

Cezanne's Eye is an experiential journey through the body of a unique landscape - that of Cezanne's Provence. Using intuitive and expressionist visual language and a striking specially composed soundtrack (by Stuart Jones) the film is a movement through land, sky, colour, sound and music that is both sensual and visually challenging. In Stan Brakhage’s words, Cezanne's Eye is “the most significant camera as paintbrush film in the history of cinema”.

A momentary flight into blood coloured spaces: Blood Sky reveals a ‘…swiringley red world transformed by camera movement’. – Independent Media.

Remember Me is a dark, obsessive and emotive treatise on death. Its aim is to explore the intimate, personal and often secret relationships that people have with mortality and loss. The tape uses original and found footage to capture the complex web of emotions which surround death and to create a passionate journey through difficult private territories.

Colour Work attempts to present a subjective journey and to produce a translation of the perceptual experience of the look. Built around a cyclic and repetitive structure the film has a musical effect through its pace and rhythm.

A beautiful photographic quality characterised Maziere’s Swimmer which used freeze frame and repeat shots of a swimmer in what could only be the Mediterranean Sea and light. With a fractured ‘found’ soundtrack, what it lacked in depth (and this may be due to its ‘series’ nature) it made up in its surface tension.

A highly experimental film which uses a kaleidoscope array of techniques to question the representation of space in film. The film can be read as an existential journey through interior spaces or as a phenomenological inquiry into the relationship between what is seen and the act of seeing.

A poetic and ironic tribute to the city of Budapest using footage filmed on the Mayday worker Festival and archival photographs from the turn of the century. A celebration of the city akin to the city ‘symphonies’ of the 20’s and 30’s with the iconography of the old Eastern Europe, its architecture, trams and its people set in a series of fleeting glimpses and rhythmical paces.