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On an interstellar journey, a group of scientists studies the last living vestiges of Earth. The artificial intelligence, Museo, becomes a portal to the crew’s diaries and a fragmented archive of humanity. On Earth, the one believed to be the last of the humans traverses a ruined planet that is slowly recovering, little by little, from the apocalypse it endured.
A film that explores the intersection of a virtual and analog image. Through the hand-processed 16mm and 3D simulation, the film questions what remains.
iPhone video and SMPTE color bars were filmed on 16mm at 24fps. The digital overscan of the celluloid is played back at 0.24fps (1% of the original speed). The film is a sequence of 15-second shots in which the computer creates hundreds of frames sampling from three frames. It chooses how to build natural forms out of one of the standard test patterns of NTSC video created by The Society of Motion Picture and Television Engineers.
Forms of the universe, rocky landscapes, and a green and lush human-made city. It originates from a dream I had; it is both mine and from a traveler aboard a spaceship. The dream and traveler belong within the universe of my film Fractais Tropicais. Here, the hopeful and utopian human-centric imaginary of space travel and the future, filled with surveillance, control, and illusions, all fleeting like the images a dream can contain.
Set in the landscapes of Los Angeles, this hybrid documentary seeks to explore harmful cyclical occurrences that exploit natural resources and bring us closer to extinction. Following the discovery of a mysterious metal structure in the desert, this film documents the encased objects found within the structure. This film is made up of speculative recreations of the study conducted, analysis of the found objects, and surrounding landscapes.
This pseudo diary film is made of found materials from an unfinished 16mm film. Potenciais à Deriva is a film started by a Brazilian artist under a pseudonym while living in exile in Los Angeles, California. Isolated shots and previously assembled scenes reveal an intention to create a mysterious film comprised of disembodied interviews, empty rooms, radio recordings, soccer games, and sudden apparitions of the filmmaker that slowly ruminates on Brazil's colonial past, North American Imperialism and the military dictatorship of the time in a paranoid and anxious manner. Be aware that the film's final version never came to exist. This version presented is my mere attempt to produce a film with these otherwise lost images.
In Stanislaw Lem's book of the same title, a paper-destroying blight obliterated much of Earth's written history—except for what's in the book. In this film, we look at a similar but unmarked future, perhaps one less distant than Lem's 3140s. Amid the rubble of an uncertain setting, the narrated soundtrack reads from the last surviving parts of some bound pages, perhaps a reporter's notebook, a dream diary, or a book manuscript.
This is Mine, This is Yours. Do not take mine and I may or may not take yours. A meditation on the unnatural lines drawn by human beings.
In Search of Mount Analogue journeys through ocean and land, bringing life to the imagined, metaphorical, and mysterious island from the 1952 novel, Mount Analogue, by René Daumal. The film uses 16mm film to capture computer-generated images that create an immersive, but rather odd, landscape of Mount Analogue.
The rendering of an impeccably constructed computer-generated image displays a disarranged home. Filmed on 16mm and hand-processed, the image is formed through a process that allows imperfections such as hair, dust, and dirt.