When I Close My Eyes I See Everything

On the rooftop of a house in Lima Norte, Francia and Amelia come together for a conversation that goes beyond the everyday, sharing profound reflections amid the cracks of the Carabayllo district. Though they appear confident, they conceal a shared pain and a lingering sense of lost identity. As the sun sets, the shadows reveal their emotional scars, shaped by the struggle to find their place in an excluding society. In this encounter, they confront their most intimate truths, shedding social masks and revealing the complexity of their being in a constant search for connection and belonging in a world that harasses them.

Experimental short film on the theme of repetition.

A three-chapter (Hell, Purgatory and Paradise) meditation on the city of Sarajevo in the wake of the Bosnian war, on Palestine and Israel, and on war itself.

A cinematic experiment inspired by Wolfgang Amadeus Mozart’s music.

Inspector Tellini investigates serial crimes where victims are paralyzed while having their bellies ripped open with a sharp knife.

An acting and directing exercise gone wrong.

The horses in Denys Colomb Daunant’s dream poem are the white beasts of the marshlands of the Camargue in South West France. Daunant was haunted by these creatures. His obsession was first visualized when he wrote the autobiographical script for Albert Lamorisse’s award-winning 1953 film White Mane. In this short the beauty of the horses is captured with a variety of film techniques and by Jacques Lasry’s beautiful electronic score.

Haunted by flooding memories of their parents' verbal abuse, an insecure person decides to stop reflecting and start living the life they never knew they could have.

Amid the urban forest of Porto Velho, we follow a night of thought streams experienced by Pilar, a young woman who survives by writing for funeral homes. As awakened memories surface, Pilar struggles to sustain herself while undergoing a mysterious transformation.

Working completely outside the mainstream, the wildly prolific, visionary Stan Brakhage made more than 350 films over a half century. Challenging all taboos in his exploration of “birth, sex, death, and the search for God,” he has turned his camera on explicit lovemaking, childbirth, even autopsy. Many of his most famous works pursue the nature of vision itself and transcend the act of filming. Some, including the legendary Mothlight, were made without using a camera at all, as he pioneered the art of making images directly on film, by drawing, painting, and scratching.

A representation of my own memory during the course of this year, illustrated by visuals.

Cissie Colpitts drowns her cheating husband and, in the ensuing cover-up, enlists the help of lonely coroner Henry Madgett, an old friend with a longstanding weakness for her charms. But when Cissie's daughter and granddaughter—both also named Cissie Colpitts—decide to resort to the same methods for solving conflicts with their own frustrating husbands, the women and their repeated appeals for help begin to wear on Madgett's conscience.