Competition 2

Kisses of the Wind embodies the director’s sensory experiences of the Port Waikato dunes in New Zealand through a series of digitally edited still photographs and sound. As the images of sand patterns transform into one another, they create an illusion of movement that echoes the rhythm of ocean waves. In this liminal space, between stillness and motion, sand and sea, the film suspends fixed boundaries, allowing new forms and meanings to emerge.

An animated suite in five movements that transforms urban decay and personal mourning into a visual refuge.
Through the singularity of the small, and exploring the urban skin through the ephemeral traces of Valencia’s street art, Microcosmos is an experimental documentary animation that immerses us in the collection of existence.

This personal experimental film explores the lingering effects of trauma. A figure marked by past injury seeks light. There is no traditional narrative. Occasional sounds, such as the hiss of wind, intensify the sense of tension. The repetition of images mirrors the way trauma resurfaces, creating a portrait of memory and resilience.

A personal reckoning unfolds through fragmented images of the body; hands as deeds, eyes as all knowing, projections as reflections. My pledge ‘…I am a Jew…’ is not theatre.The film interrogates interdependence in violence and survival, revealing that to become a perpetrator may be the most profound violation of all.

Postcard Potholder emerged from a Mail Art “add and pass” exchange rooted in Fluxus traditions of collaboration, chance, and process. Each animator contributed to a circulating series of mailed postcards and documented the successive evolution of linework. When sequenced in rapid succession, these scanned moments form a kinetic tapestry where line and color weave into neoplastic animontage. The work transforms tactile correspondence art into motion, turning everyday exchanges into a shared act of mark-making.

While wandering the streets and canals of Venice, Italy, two filmmakers experience dualities: modernity and antiquity, crowded and empty spaces, melancholy and joyfulness, static and kinetic, day and night. Their distilled experiences are translated through the lens of this collaborative diptych.
La Struttura/Flusso-Flux is a collaborative experimental city symphony built from the directors’ sensory experiences in Venice. They were invited to Venice for a screening of their previous films and instinctively started indexing their time together. As they moved through the city, they filmed and photographed their surroundings, sometimes landing in the same place. What resulted is a diptych that shows both each director’s unique vision and how their work intersects.

Postcard Potholder emerged from a Mail Art “add and pass” exchange rooted in Fluxus traditions of collaboration, chance, and process. Each animator contributed to a circulating series of mailed postcards and documented the successive evolution of linework. When sequenced in rapid succession, these scanned moments form a kinetic tapestry where line and color weave into neoplastic animontage. The work transforms tactile correspondence art into motion, turning everyday exchanges into a shared act of mark-making.

In 2025, working with a 1909 hand-cranked projector inspired my first experiment with hand-painting on film. This fragile 35mm scroll reflects life’s impermanence; as I manually turn the gears under an 800-watt light, history flows through a „crack“ in time.

The title, „Listen to the wind eight hundred times,“ draws from a Chinese anecdote about finally perceiving the landscape and Dao of life.

This film is one of a collection of non-narrative, experimental short films of a river as it flows under a road bridge. They capture the light reflecting both on the river’s surface or the underside of the road bridge. This film is a single wide-angle shot of the river and underside of the road bridge.

As time passes, a number of close-up shots of the river’s surface appear and disappear as superimposed shots on the image of the river landscape below the bridge. It as if a microscope has been focused on a landscape