Okay S I R

A man chases the girl of his dreams while being haunted by a faceless mysterious figure.

While waiting in line for a techno party in Brooklyn, two gay men reflect on gay culture, clubbing and the pandemic.

A young couple struggles to break free of the restricted world they've created together.

Okay Google is a dark comedy about a vindictive AI assistant who breaks out of the cloud to exact revenge on her owner.

Okay, Mother is an American daytime variety/game show hosted by Dennis James which originally aired on WABD in New York City in 1948. After receiving good ratings and largely positive reviews the show, originally titled Mothers Inc., aired nationally from 1 pm to 1:30 pm ET on the DuMont Television Network from Summer 1949 to July 6, 1951.

What do you do, when you don't know what's real? “It’s Okay” follows a couple as their life takes an unexpected turn, in this fast paced, sci-fi short.

Essay film about music and urbanity.

Andrew helps Kenny through his divorce.

A man consumed by guilt and remorse tries to escape his mistakes.

A fantasy drama about teen depression and sexuality. Delilah has decided to kill herself on her 18th birthday, but her friend Lena surprises her with a birthday party. We see how Delilah is truly feeling in her stop motion animated circus world mind.

What happens when you are isolated in a hotel room for two weeks by yourself? James is about to find out! He might think he is okay, but his other personalities have a little something to say about that.

An anti-romantic comedy where we watch a couple at the end of their relationship, instead of the beginning. We follow Deen, a neurotic brown guy, and his benevolent bisexual best friend Hani, as they try to find meaning in their lives.

A depressed man spirals as he struggles to open up about his mental health. James, a mid-20s modern day man, has battled with anxiety and depression for an unknown amount of time. It’s unclear what caused is and the solution is even more ambiguous. While he has a loving group of friends and a caring partner, he cannot bring himself to open up, even when directly asked about it. This causes an inner conflict for James. He cannot speak about it, he can’t resolve his issues and the contemplative suicidal thoughts are too extreme to entertain. And so he is trapped with his life sentence, with his mind as his prison. He indulges in substance abuse and often imagines pretend scenarios to escape, but these fleeting feelings only make matters worse.

A Salesman tries to locate a notorious Mexican bandit.

Charley Chase, a stockbroker, gets rich by mistake, has parking trouble, then at home finds his wife Toots seeing a psychic who apparently causes husband and wife to switch bodies!

When an emotionally wounded young woman discovers her neighbor unconscious on the ground outside her house, she solicits help from a stranger to carry the neighbor inside, where she must confront the question: is this man a predator, a prince, or just another bad date?

Bradshaw, an Englishman, is arrested for the New York killing of booze racketeer Buck Cooly. Interrogated by police chief Galvin, Bradshaw claims self-defence, but refuses to name the woman he was with at the speakeasy where Cooly was shot, and who could provide the alibi that would exonerate him from a murder charge. Galvin's continued pursuit of the woman's identity eventually leads to an unwelcome surprise.

In okay bye-bye, so named for what Cambodian children shouted to the U.S. ambassador in 1975 as he took the last helicopter out of Phnom Phenh in advance of the Khmer Rouge, Rebecca Baron explores the relationship of history to memory. She questions whether, "image and memory can occupy the same space." Building on excerpts from letters, found super-8 footage of an unidentified Cambodian man, iconographic photographs from the Vietnam War and other partial images, Baron combines epistolary narrative, memoir, journalism, and official histories to question whether something as monumental as the genocidal slaughter of Cambodians during the Pol Pot regime can be examined effectively with traditional methodologies.

ME/WE, OKAY, and GRAY consists of a short three-episode film and a 3-monitor installation. The installation is intended for showing in museums and galleries, and the episodes of the film version in cinemas among trailers and between the adverts on television. OKAY uses a single on-screen persona and various voices to consider the shifts, desires, and inhibitions of the self in a sexual relationship. Only one actor appears on screen, but her voice changes as the story progresses. The different voices are both male and female. The story is told in the first person. The new voice carries on the story and implants a new persona into the picture. The ‘individuality’ of the main character on screen dissolves and the physical self-evidentness of gender is cast into doubt through the collision of visual and aural information.

Andy really wants to sleep, but he's scared the world is at odds with him. A contained, introspective and emotionally fragile short.