This Is Not

Ceci n’est pas un GIF is a film only made with GIFs. It’s a breach, a short object that questions our relationship to the real and digital world, to our physical presence on Earth.

The director leaves his native country and adapts to new territories. Inside his work routine in a New York City restaurant, messages from his family come and go, shattered pieces of lost paradises.

Angela Su’s fictional artist Rosie Leavers is the last remaining person to upload her consciousness to a video game. Contemplating during a pandemic year which also saw people’s resistance movements in many parts of the world, the work pinpoints the uncanny affinities between gaming and warfare strategies. They have mutually informed the infrastructure of both worlds since time immemorial when diplomatic conflicts played out on the battlefield of the 64 squares of a chess board to flight simulation technologies which were adapted to shape gaming experiences as we know it now. When the conflict is between the state and its people, she speculates that gaming strategies empower civilians in resistance movements to counter imperialism through its own operative logic. But once we upload our consciousness, are we able to return to the sensibilities and political motivation that inspired the revolution to begin with?

This film at the most fundamental level, a personal project; i) examining the use and production of images/representations of Lebanon and Beirut both in the West and in Lebanon itself, ii) recording the interactions and experiences while working in Lebanon, focusing on the undertaking of this representational process as a Lebanese and a westernized, foreign-born mediator with cultural connections and baggage of both the West and Lebanon and some of the disparities and disjunctions arising in each, and iii) situating the work between genres looking from the inside out at each and engaging critically at the assumptions imposed and thus broken in this site of complexity one’s identity is found and constructed in.

The One & Only Live Show Of D.L.I.M.C.

It's a biographical and daily life documentary about TANAKA, Mitsu who is the legendary leader of women's liberation movement of Japan on 70's, filmed closely for four years since 2014.

‘This is China of a particular sort, I do not know’ is a postcolonial response to chinoiserie, a European decorative style imitating Chinese motifs popular in the eighteenth century. It is set and entirely filmed at the Royal Pavilion Brighton, a British pleasure palace built by George IV based on the idea of illusion, and hence its interior being entirely chinoiserie. Across five dialogues and one monologue, the artist herself and relevant historical individuals – that are George IV the British King, Chien-lung the Chinese Emperor who received the Macartney Embassy, George Macartney who led the first British embassy to China, William Alexander the draughtsman from the embassy, and Ann a Ching Dynasty royal family member and also the artist’s childhood neighbour in Taiwan – question, miss, argue and disagree with each other over the representation of Chineseness in chinoiserie at the Pavilion.

Lillah Halla asked five Cubans to dance in front of the camera to music that sums up their lives at that moment. The songs are inaudible to the viewer, but the rooms in which the people dance, the way they move and their facial expressions as they listen reveal their state of mind.

Naitik and Akshara Singhania live in a Marwari joint family in Udaipur. As a young married couple, they journey through adjustment issues, later as parents of young children, and they learn to love each other and their respective extended families while becoming mature members of their household.

Directed by Carlo Di Carlo

Having always craved more from the artistic and conceptual angles of erotic filmmaking, I knew that I wanted to break the mold and make an experimental piece that lives without a classic storytelling arc. An art film that just exists and breathes and whispers to your libido. Inspired by Magritte’s "The Treachery of Images", I non-verbally argue that the one-sided representation of sex in media, whether through sensationalized click bait disguised as journalism or the male-dominated pornographic vision, strips sex to an act that nullifies its complexities and emotions. Created with absolutely no budget, this piece proves that there is a place for sex in art.

While attending a party at James Franco's house, Seth Rogen, Jay Baruchel and many other celebrities are faced with the apocalypse.

Greg is coasting through senior year of high school as anonymously as possible, avoiding social interactions like the plague while secretly making spirited, bizarre films with Earl, his only friend. But both his anonymity and friendship threaten to unravel when his mother forces him to befriend a classmate with leukemia.

"Ceci n'es pas moi." (This is not me.) contains strange images of Emmsen Jafari, when he wasn't afraid of knife. This video is made by old footage taken by Majid Jafari at the first birthday of Emmsen Jafari.