Sweet-Smelling Movie: Be a Light to the World (2016)
A coming-of-age story about a high-school girl who wants to use magic, featuring the 11-member experimental band Vampillia
Romantic Warriors IV: Krautrock (Part I) (2019)
The fourth in a series of feature-length documentaries about Progressive rock written and directed by Adele Schmidt and José Zegarra Holder. Krautrock, Part 1 focuses on German progressive rock, popularly known as Krautrock, from in and around the Cologne, Düsseldorf, and Hamburg regions of Germany. Artist featured include Kraftwerk, Neu, Can, Faust and others.
What Difference Does It Make? (2014)
A documentary that explores the challenges that a life in music can bring.
Colossal (2012)
Colossal explores the complexities of grief and the process of grieving as understood through the myth of a Man as he ventures through shifting landscapes ruminating.
Tsushima Fiction (2020)
From resting trees, to violent waters, to blood splattered in the dirt. A wanderer searches for tranquility in 13th century Japan during the Mongol invasion or a collection of 48 moving images captured entirely within the virtual world of Ghost of Tsushima.
Engel und Puppe (1975)
Engel und Puppe is the first film by Italian filmmaker and writer Ellis Donda. Screened at Oberhausen in 1975, Engel und Puppe is a political adaptation of some lines from Rilke's Duino Elegies, featuring the French poet Jacqueline Risset and a young Rossella Or (soon to become an avant-garde theatre actress).
LIGHTS (2021)
A boy who finished school and spends time at home, between routine and sleep, during the COVID-19 pandemic.
Good Stock On The Dimension Floor: An Opera (2014)
A collectively made filmic opera in 35 parts. The Black and predominantly queer art collective, an evolving line up of poets and artists from across the world, abstracts and reimagines opera in any traditional conception. Set to hip-hop, blues, noise, R&B and electronica, the piece uses the voice (chanting, singing, screaming; written by poet and activist Dawn Lundy Martin) as its primary tool, verbalising centuries of alienation, vulnerability and protest in the global African diaspora through its disruptive libretto.