Visual haiku dealing with still and living life, ghosts and revealing light.

in my darkest moment, fetal and weeping, the moon tells me a secret, a confidant As full and bright as I am, this light is not my own and a million light reflections pass over me, the source is bright and endless. She resuscitates the hopeless. Without her, we are lifeless satellites drifting.

A boobs flasher tells us, a boobs flasher lets us see.

HE, the third work in the ongoing collaboration between Rouzbeh Rashidi and actor James Devereaux, is a troubling and mysterious portrait of a suicidal man. Rashidi juxtaposes the lead character’s apparently revealing monologues with scenes and images that layer the film with ambiguity. Its deliberate, hypnotic pace and boldly experimental structure result in an unusual and challenging view of its unsettling subject.

In Arnarstapi (Iceland), during a cabaret number, a mistress of ceremonies proposes to us a journey into the center of her organs to go and meet the original being. During the journey, the public enters into a trance to reach the ecstasy.

There is no description

A camera crew travels through Thailand asking villagers to invent the next chapter of an ever-growing story.

Amanda's stoner slumber party is put to a halt when one of her guests is nowhere to be found.

A fever dream of the faces of love. Six circles of love. A kind of death and rebirth experienced within each circle. Each song in the short film evokes a realm of what love can feel like to a human being, the metamorphosis through the experience of Love. Faced with the person that was at every metamorphosis, there is a certain death, and certain transformation. We watch her move without words towards salvation.

A photographer girl enters a street to take street photographs as usual and takes a few photos that she thinks are normal. When she washes the photos and hangs them, she sees that she is actually in one of the photos and goes in search of that person.

According to an English legend, Joan of Arc never died at the stake. Her eyes were seared with hot pokers and she was deflowered by an English stud. She was then sentenced to wander on the battlefields, like a vulture, on the look-out for life and searching for any virgins left alive.

"Lysreisen" is an experimental art film, a visual ode to tunnel lights. Its ethereal beauty and abstract visuals create a poetic journey, exploring the transformative dance of light with a captivating and artistic touch.

Experiencing unexplained blackouts, an ex-military alcoholic desperately tries to stop them to save his marriage, only to discover they are triggered by a trauma his mind is fighting to forget.

After a feverish dream, a paralysed dreamer finds themselves trapped within a purgatory of their sleep, as they begin to fuse with their bed. The purgatory begins to refract the dreamers mind, as they are confronted with multiple incarnations of themselves struggling to awake. Bed & Breakfast is inspired by the neurodivergent experience of procrastination, and inertia. Questioning the nature of memory, identity, and the fabric of reality, by plunging you into the psyche of a paralysed dreamer where reality is far repressed.

Andrew, a teacher, is attacked while leaving work in a failed mugging which results in him becoming critically injured. While he is bleeding out a Deity appears healing Andrew but this is at a cost.

Burn flowers burn ,as dreams.Dreams burn down like they were never meant to bloom.

Jay and Matt move everything out of "Stu's" garage. A road trip of memory ensues.

A 16mm experimental short film loosely following a cormorant as it attempts to dry its wings.

In SUNSPOTS, several 16mm shots of the sun are layered and superimposed, paired with a soundscape consisting of volcanos, fire, plastic and the audible solar sounds recorded by the Solar and Heliospheric Observatory (SOHO).

A man (James Devereaux) sits on a park bench talking to the camera, trying to weave together a thought that won’t cohere while commenting on passers-by, his ‘guests’… Mysterious images intervene, overturning the serenity of the park-bench monologue. Rouzbeh Rashidi’s feature proves as engaging as it is elusive.