One person witnessing war atrocities has to make a split-second decision to stop the madness before getting off the Paris Metro...
Synopsis: A passenger boards a train and squeezes in next to a teenager playing a WAR GAME on his cellphone. He sees the kid gleefully killing people and blowing up village after village. His face morphing from innocence to monster. Our passenger thinks to himself those two words (War Game) don't belong near each other. That’s when he’s compelled to get in the game and put an end to the horror.

The Bolex is a Swiss-made film camera that played a pivotal role in the development of independent and avant-garde filmmaking. Introduced in the 1920’s, the camera's lightweight and portable design made it an accessible choice for filmmakers who wanted to break away from the constraints of large studio productions. The affordable price point democratized the filmmaking process, enabling filmmakers to explore new creative avenues and push the boundaries of the art of cinema. The aesthetic look of the Bolex is equally relevant as unique and significant. The motion images produced by the Bolex display a textured and grainy image quality. The resulting visuals are synonymous with the immediate and visceral aesthetic of artist inspired filmmaking.

In addition to its iconic status, the Bolex contains a recurring and noticeable quirk. In order to initiate the filming process, the hand-cranked camera relies on a complex harmony of mechanical design. As the gears get up to speed, the internal transport mechanism ramps and fluctuates. This technical operation produces a distinctive oscillation that is imprinted on the film plane. For the span of several seconds, the film captures an ethereal canvas of color and light. Through this process, the Bolex successfully envisions the crystallization (and decrystallization) of the motion image.

That Bolex Thing highlights this fleeting occurrence of visual abstraction. The source footage is composed of brief instances containing the filmic “thing”. Within this tapestry, the subject matter offers a contrast between new and former devices of image capture. Undoubtedly, modern camera technology provides unprecedented levels of efficiency and convenience. However, amidst the dependence on new technology, the Bolex maintains a timeless allure and magnetism. This glorious machine provides a genuine reminder that technological progress is underscored by nostalgic obsolescence. Ultimately, That Bolex Thing contextualizes the ongoing interplay between innovation and tradition.

A modern materialist film about filmmaking and dying trees, edited in-camera and hand-processed in a beer bath.

Two Texas sisters fled to the metaverse at the onset of the pandemic, creating The Enclave, a cyber-haven for ‘like-minded women’. Years later, the suburb is on the verge of bankruptcy, and owner Moni Calvioni is crowdfunding to save her digital utopia. With no awareness of online culture, she and her sister Blair turn to Twitch and Reddit to pitch their idealized vision only to fall prey to a slew of internet trolls who write profanities on their street signs and graffiti their walls with sexual imagery. The rapidly encroaching digital mountainscape only further unravels the delusion of The Enclave’s pursuit for the white, suburban ideal and exposes the baggage we bring to online spaces if we don't fix our very real IRL problems.

Fiction, reality, the private, and the performed overlap on a routine but emotional day at a medical center.

Earth is experiencing its final winter. A streaming company hires all available camera operators to film the final weeks of this soon-to-be-lost season. After seeing their footage as a form of ecological exploitation, the camera operators refuse to commodify further climate collapse with their labor.

Old wounds are re-opened when the director and the two lead actors behind a cult film record the audio commentary for a special edition release.

This movie is about loving things that are embarrassing and people who are inappropriate.  It's an essay film reflection on popular trash; football parties; older men; adolescent desire and the outrageous yet mundane humiliations of being a teenage girl in the 1980s.  With sound design by Kevin T. Allen and performance cameos by filmmakers Roger Beebe and Jason Livingston. 

Animation against the evisceration of women's reproductive rights. An iterative process using rubbings, images, headlines and voices from arguments before the Supreme Court moves the film formal experimentation to an expression of outrage about the effects of abortion bans on our health.

The border between North Dakota and Minnesota is physically a small river but legislatively a large canyon. Through the voices of clinic leadership, staff, and escorts, we hear the story of the Red River Women's Clinic, the only clinic in the state of North Dakota providing abortion services before the Dobbs decision, when it was forced to close. This is the story of a successful community resistance and a collective effort that resulted in no gap in abortion services when the clinic moved a mile and a half into the state of Minnesota.

This film centers around a scene in Blade Runner in which the main character, Rick Deckard, is examining a photograph using a machine that allows him to zoom in on certain parts of the picture. Not only is he able to zoom in, but it’s revealed that he can also look around and behind objects within the photograph. In doing so, Deckard can draw out clues that, from the perspective of current technology, it would seem impossible to see. Deckard’s investigation in the film ultimately reveals things not just about the case he's working on, but also about himself. With this in mind, I have recontextualized this scene to be about Deckard seeing himself, and about us seeing ourselves in “the screen.”