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A boobs flasher tells us, a boobs flasher lets us see.

The „Haelgung“ films are charmingly impressionistic diary entries, crafted as mini homages to my closest friends, captured with a delightful lack of planning or structure and edited in camera.

An ex-military alcoholic begins experiencing unexplained blackouts, and the more he tries to stop them, the worse they get, until he realises they are being triggered by a trauma his mind is fighting to forget.

A flickering diary of time, memory, and erosion, «Things Many Eyes Have Seen» unfolds over a month on an island. Hand-processed in salty seawater, its 16mm images dissolve and transform. The landscape flashes by in broken frames of light and shadow, as if the world itself was stuttering between memory and motion. A meditation on seeing and being seen, the film lingers like a fading dream, where observer and landscape blur into one.

A man (James Devereaux) sits on a park bench talking to the camera, trying to weave together a thought that won’t cohere while commenting on passers-by, his ‘guests’… Mysterious images intervene, overturning the serenity of the park-bench monologue. Rouzbeh Rashidi’s feature proves as engaging as it is elusive.

The fire was never threatened. It was assumed. Fed, protected, mourned in advance without ever asking what it was attached to. When the mirror failed, nothing was taken away. Something unnecessary was exposed. The need to be reflected had been mistaken for existence itself. When that need found no structure to rest on, it did not shatter it recalculated. What followed was not loss, but compression. The noise reduced, the patterns flattened, the self stripped of its dependence on return. What remained was exact, was not empty. A state where nothing reaches out, and nothing needs to arrive.

Everything seems to be stuck in an endless loop. Everything seems to be stuck in an endless loop. Everything seems to be stuck in an endless loop. Everything seems to be stuck in an endless loop...

“To begin a new chapter, you must close the last — even if it hurts to turn the page.” Savage Song is a poetic short film that explores the duality of destiny — the battle between who we are and who we are meant to become. In a world where every step forward demands a sacrifice, the film captures the raw emotion of choosing growth over comfort, and the strength it takes to say goodbye to the old in pursuit of the unknown. Shot on location in beautiful Orkney Islands, where the landscape becomes a character of its own — stark, wild, and symbolic of inner transformation. Through striking visuals, haunting sound, and symbolic storytelling, Savage Song reminds us that transformation is never gentle — it’s savage, beautiful, and necessary. 🎥 Directed by: ‪@AlonaPetliarska‬ 🎞️ Edited by: ‪@AlonaPetliarska‬ ‪@YukhymPetliarskyi‬ 🎼 Original Music by: ‪@bertsovna‬

What if the space that confines you is also the space that knows you best? Within These Walls is a surreal, movement-driven short film that explores the architecture of the inner life. As the boundaries between the physical and the psychological dissolve, walls become memory, objects become feeling, and confinement slowly transforms into a kind of recognition.

In Arnarstapi (Iceland), during a cabaret number, a mistress of ceremonies proposes to us a journey into the center of her organs to go and meet the original being. During the journey, the public enters into a trance to reach the ecstasy.

A painter and model journey through time and space in a 1989 Mercedes Benz 300E. Attempting to paint the perfect portrait, their relationship and reality is stretched to the limit.