A rumination on ancestry, transformation and loss. Elemental forces and the universal web of interconnection. Dedicated to the memory of the filmmaker's grandmother Marilyn.

A serendipitous encounter on distant shores
Colliding archives of body and place
Ominous scenes of a homeland's militaristic pride
An incantation to freedom and belonging.

Calm Remains is an experimental film designed to be viewed on a loop that seeks to evoke the emotion of the black experience in America. With the use of diptychs and sound design, the film explores a duality of consciousness.

Faces, bodies and actions are juxtaposed endlessly. Fragmented pieces of the woman come together and form the volume of what has been her image in the history of cinema; one marked by the routinary domination and exploitation of her body. A short film homage to Laura Mulvey and her contributions to feminist film theory.

Reverberations of fear and desire stemming from the drive to mirror the gaze and assert oneself as an image. My trans body beholds the possibility of collapsing into an inarticulable flux of home movies. This self-portrait summons familiar ghosts dwelling the wound of an image.

Time Crystals is an experimental short film about images, memory, and time, as told by a not-quite-human narrator.

This synthetic narrator is remembering time through images, though it's not clear if the memories are real, if they are fantasies, or something in-between. The narrator describes finding patterns in time, which "she" calls time crystals. We do not know if this enigmatic film is a record, a signal, or a dream.

If imagination is a trans-like state for the feeling of existing, wider than words and larger than pictures, is reality an illusion? The short doc-fiction explores the feeling of being lost in time. The memoirs of affection and trauma dwelling to get out from a prison. The prison is comprised of the loss of my father at an early age, my disconnected family, and the longing for my partner. Considering self, memory and time as three different entities, the conversation of these three analogues becomes my truth.

A structuralist diary, in blue and red.

An experimental film essay about a found (stolen?) photograph, a hurricane, and film’s inherent ability to animate and re-animate still, dead, and inanimate beings, images, and objects. The film is created using an ink-jet direct-on-film technique where the digital frame is printed directly onto onto recycled 16mm celluloid.

A collaborative deconstruction/destruction of a Battleship Potemkin 35mm trailer created through the mail during lockdown with nearly 100 participants. Each person was sent half-second long strips of the film to manipulate as they saw fit. Once returned, they were spliced together in a new sequence creating a chance-driven score from the optical soundtrack. A messy and exciting experiment in montage and cut up techniques made by a diverse cast including found footage maestro Craig Baldwin and my high school girlfriend.

Two artificial intelligences compete to mingle fact with its statistical representation. Thinking machines will eat your future. In the end, all is well in the Disneyverse.