Dandy

P.A.K. is an intensely personal document expressing the alienation, pain, and trauma of a prison experience. Using techniques of German expressionism, it examines the social and institutional forces that inform one's subjective self-definition. Stark contrasts, are combined with harsh prison reality with escape into the fantasy, beauty, and grace of classical ballet. The conflict is underscored by elements of the sound track: reverberating prison noises, the uncompromising music of punk rock and voice-over readings from the poetic works of notable writers and political prisoners Oscar Wilde and Breyton Bretonbach.

From the primitive touch to a 'twist, press, click'—— Piles of images generate and decay into the soil, they are the real flesh, also the intangible memory.

A good feast in the countryside.

A short experimental film made in Bahrain by Waheeda Malullah.

Three artists across three generations are haunted by the demon Mephistopheles in an absurdist reconstruction of the Faustian legend.

Divine Intervention explores the journey of a woman tormented by the entanglement of her hair, seeking solace through a spiritual guide. Together, they employ a unique technique to enter her consciousness, aiming to uncover the root of her distress. The Yuan Shen Palace, also known as the House of the Mind, is depicted as a virtual world constructed by the brain. If it truly exists, it might function like a vast organic hard drive, recording the intricate details of one’s life. The film strives to rationalize magic and symbolize the process of spiritual healing.

The desolation of vast retail spaces is not so far off from the decay of one's memories.

A woman experiments with a Dreamachine, hoping to escape trouble. Within the light and dark of the machine, violent emotions awaken.

According to thermodynamics, a metastable system subject to external perturbations will change until a new equilibrium state is reached. Isn’t then such a system similar to a dramatic structure?

3 short films made from old and new projects footage reassembled, and photographs taken during the last few months.

Tracing the faded time of those who once turned the pages Chŏng Yagyong(1762-1836)’s Chil Shil Gwan Hwa Seol (On Viewing Paintings from the Dark Chamber). In a dark room of their own, they steep tea, mend fragments with thread, and enfold them in bojagi cloth—crafting a cinema that was unseen.