Against Time

From mouth to cave to fire to screen to war to skin, a 16mm portrait of an increasingly chaotic present, one whose political contours are affected by everything and nothing all at once. In the words of Zadie Smith: 'Time is not what it is / But how it is felt'.

The film traces the extensive journey of two unidentified brothers who venture from the outskirts of Paramaribo, Suriname, on land and through rapids, past a Maroon village on the Upper Suriname River, in a rehearsal of the voyage undertaken by their ancestors, who escaped from slavery at the hands of the Dutch 300 years prior. A path still traveled to this day, its changing topography bespeaks a diverse history of forced migration.

On the island of Tanna, a part of Vanuatu, an archipelago in Melanesia, strange rites are enacted and time passes slowly while the inhabitants await the return of the mysterious John.

A documentary portrait of Utopia, loosely framed by Plato’s invocation of the lost continent of Atlantis in 360 BC and its re-resurrection via a 1970s science fiction pulp novel.

A color-separation portrait of the Exarchia neighborhood of Athens, Greece, made during the Anti-Austerity protests in late 2011. In a place thick with stray cats and scooters, cops and Molotovs, ancient myths and new ruins; where fists are raised like so many columns in the Parthenon, this is a film of surfaces - of grafitti'd marble streets and wheat-pasted city walls - hand-processed in red, green, and blue.

A man at three disparate moments in his life: as a member of a fifteen-person collective on a small Estonian island, alone in the wilderness of Northern Finland and as the singer of a neo-pagan black metal band in Norway. Three moments for a radical proposition for the creation of utopia in the present.

'Set between Swaziland and South Africa, in a region still struggling with the divisions produced by an apartheid government, Greetings to the Ancestors documents the dream lives of the territory’s inhabitants as the borders of consciousness dissolve and expand.' (Ben Russell)

"TRYPPS #7 (BADLANDS) charts, through an intimate long-take, a young woman's LSD trip in the Badlands National Park before descending into a psychedelic, formal abstraction of the expansive desert landscape. Concerned with notions of the romantic sublime, phenomenological experience, and secular spiritualism, the work continues Russell's unique investigation into the possibilities of cinema as a site for transcendence." - Michael Green, Museum of Contemporary Art Chicago

A Jim Drain film

A transfixing performance film in which artist Basma Alsharif shoots footage in Athens, Malta and the "post-civilization" of the Gaza Strip while under self-hypnosis.

A visceral non-fiction portrait of hope and sacrifice in a time of global economic turmoil, filmed between a large-scale underground mine in post-war Serbia and an illegal mining collective in the tropical heat of Suriname.

This film is an homage to the Gaza Strip and to the possibility of hope beyond hopelessness. Ouroboros, the symbol of the snake eating its tail, is both end and beginning: death as regeneration. A 74-minute experimental narrative film that turns the destruction of Gaza into a story of heartbreak, Ouroboros asks what it means to be human when humanity has failed. Taking the form of a love story, the film's central character is Diego Marcon, a man who embarks on a circular journey to shed his pain only to experience it, again and again. In the course of a single day, his travel fuses together Native American territories, the ancient Italian city of Matera, a castle in Brittany, and the ruins of the Gaza Strip into a single landscape.

Short film from 2007.

Direct Action documents the everyday of one of the most important activist communities in France in order to see how the success of a radical protest movement can offer a path through the climate crisis facing us all.

Shot in a creaky, wooden-floored Parisian recording studio at an inaugural three-day “forum of ideas” focusing on the manifold possibilities of “Resistance”, the film initially appears to be a structuralist document of a philosophical discussion in-the-round.

A synaesthetic portrait made between French Polynesia and Brittany, Color-blind follows the restless ghost of Gauguin in excavating the colonial legacy of a post-postcolonial present.