3D animated short based on Kirby: Right Back at Ya! which features the never-before-seen monster named Lobzilla. as King Dedede tries to ruin Kirby's latest media endeavor

The first section employs a 75mm to 1500mm Canon telephoto lens developed for wildlife cinematography. This uncannily prolonged zoom moves from a cityscape view to details on a single balcony of Chicago's Marina City. The second section employs 8K photorealistic computer generated materials commonly used in architectural renders, video games, and the motion picture industry. The third section was procedurally generated using fractal software developed by the computer engineer Code Parade. Wilson worked with Code Parade to customize his programme towards heightened cinematic realism and render what look like infinite synthetic 3D landscapes constructed for something other than the human body.

The much sought-after, two-letter web domain suffix of the title is examined as both a form of capital and an emblem of a country on the brink of a climate-induced catastrophe in this simultaneously humorous and illuminating essay film centered on the environmentally contentious Pacific Islands of Tuvalu.

A short film utilizing Google Maps' StreetView feature where Jean-Luc Godard and Anne-Marie Miéville are captured walking the streets of Switzerland. Set to music from Godard's film "Contempt" composed by Georges Delerue.

A depiction of New York’s subway as an absurd obstacle course – revealing a system that shuts many out of a city in motion.

On 7 April 2018, the city of Douma, Syria, was targeted by two chemical weapons attacks. At that time, the city and its surrounding areas had been under siege by the Syrian military since 2013. At least 70 people died in the attacks, according to reports. Two distinctive yellow canisters, similar to those previously linked to chlorine gas attacks across Syria, were found following the strikes: one on a rooftop balcony near to Al Shuhada square, and the other in a bedroom at an unknown location in the city. We reconstructed the two sites as 3D models using available images and video material. We also reconstructed the canisters as digital objects and analysed the physical traces inscribed on them. -FA

Video on the mass media response to the bardo-traversing of Steve Jobs. Long live the archive and the archivist.

Pictures, collages, well, call'em XPLUGS

Produced as part of an end-of-the-year series of videos looking back at films released in 2015, this video essay asks: when does the act of framing an image become a political gesture?

An homage to Harun Farocki, who left us too soon. I hope this memory of a wonderful summer night in Berlin testifies to his openness and generosity.

A high-speed drive through the streets of Paris.

A brief short of Phil Solomon and Stan Brakhage going to the movies in the spring of 2002.

This is a really interesting film about how large the universe is and how powers of ten become so drastically distant.
It starts out by showing a couple at a picnic in Chicago. It then shows an overhead shot a meter up of the man lying down on the picnic blanket. It then proceeds to zoom out by increasing the distance by a power of ten every ten seconds; 10 to the first meters, 10 to the second meters, 10 to the third meters, and so on.
Before long the viewer is above the earth, then the solar system, then the galaxy, then much of the visible universe. The viewer is projected back forward by decreasing the powers of ten every two seconds.
After a while the picnic scene is displayed again, but it doesn't stop there. The view returns to the regular speed and goes into the negative powers; ten to the negative first meter, ten to the negative second meter, and so on. The viewer is zoomed into the man's hand, and ends up zooming into a single proton in an atom.

A purely visual exploration of the four different "centers" of triangles.

Premiered at the 2017 Locarno International Film Festival.

"As if pictures could think! Einschlafgeschichten doesn't really speak of bridges or railroads but rather of two girls filling the space between daytime and dreamtime with a poetic game, an endless game, a game with no end. A game which can fade out without becoming fragmentary. "Are you asleep?", one of them asks at the end of a clip – and the final shot is of the two, asleep; the game is over. The girls are played by Lara and Anna, Farocki's daughters." - Hans J. Wulff

"As if pictures could think! Einschlafgeschichten doesn't really speak of bridges or railroads but rather of two girls filling the space between daytime and dreamtime with a poetic game, an endless game, a game with no end. A game which can fade out without becoming fragmentary. "Are you asleep?", one of them asks at the end of a clip – and the final shot is of the two, asleep; the game is over. The girls are played by Lara and Anna, Farocki's daughters."

"As if pictures could think! Einschlafgeschichten doesn't really speak of bridges or railroads but rather of two girls filling the space between daytime and dreamtime with a poetic game, an endless game, a game with no end. A game which can fade out without becoming fragmentary. "Are you asleep?", one of them asks at the end of a clip – and the final shot is of the two, asleep; the game is over. The girls are played by Lara and Anna, Farocki's daughters." - Hans J. Wulff

Shapes form various creatures, and continually shapeshift.

New York cab and black car drivers are facing economic and emotional hardship in a city dominated by ride-share apps. As these long standing industries are decimated by economic and political forces, drivers are forced to cope or fight back.