Between Tides

Canvas becomes a dynamic actor over the course of a 50 minute journey. The paths, far from being a simple cycling route, become brushes that paint the canvas against the terrain, carried along by stone, dirt, and mud paths or bathed in sunlight and rain.

Collective video and performance work based on the book by John Berger and John Christie, I Send You This Cadmium Red. The video creation was made following a series of instructions generated by the group: each member of the Neofòbia collective made 45-second vertical films about previously agreed colours and sent them every 15 days at a specific time. It was not edited except to group the successive submissions into a triptych and play with random placement. No hierarchy is established and there are no individual authorships, only those of the collective. All decisions are made horizontally.

An obsessive exploration of the three geometric dimensions in hopes of reaching a fourth.

Collective and performative video work, interfering in three spaces. All actions are a series of interferences with the medium of each of the members of Neofòbia without interaction between them. It is divided into three steps.

Partly a parody, partly a mockumentary, partly an essay film - and also an actual behind the scenes documentary of two short films.

A moody combination of edited images from various news sources, essays, lectures, pop culture artifacts, and especially the film Koyaanisqatsi (1983), set against selected songs from Nine Inch Nails' 2013 record Hesitation Marks. Designed to feel like doomscrolling. Riddled with copyright infringements. Made for class.

Filmed by Jonas Mekas from the 44th floor of the Time-Life Building, “Empire” explores the passage of time without the use of characters or a traditional narrative. The film, that consists of one stationary shot of the Empire State Building, was made from standard 1,200-foot rolls of 16mm film with a more than eight-hour runtime.

A man sees mountains and sets out to recreate them. During a traverse across the Western United States, we observe familiar sites in a new light, and the world gets lost in the fold.

Chileans are asked about their definition of the word (and the concept of) "power", as they answer images flash on the screen of powerful and powerless figures in Chilean history.

Dead Parents Club is a hybrid documentary blending observational footage, experimental performance, and cultural analysis to challenge the pervasive "orphan trope" in popular culture. While children's media like The Lion King, Frozen, and Finding Nemo frequently use parental loss as a narrative tool to spark a character's independence, the lived reality of grief is vastly more complex. The film follows real individuals who have lost parents as they collaborate on a unique theatre production. By stepping into the roles of iconic fictional orphans like Simba and Frodo, the cast members weave their personal stories of trauma into the scripted scenes. The resulting performance offers a poignant, absurd, and unexpectedly funny exploration of identity and healing. Moving between fantasy and lived experience, this documentary examines how we navigate profound loss, build deep connections, and ultimately learn to parent ourselves.

The camera sets out on a journey to find the headless Buddha statues scattered across Namsan Mountain in Gyeongju. What has disappeared, who caused it to vanish, and how has it been recorded? People stroll along the river, the sea, and mountain paths, taking photographs, where images from the past and the desire for excavation overlap.