“Constant” is a journey through the social and political histories of measurement. For most of recorded history, the human body was the measure of all things. “Constant” asks what led measurements to depart from the body and become a science unto itself.
The film explores three shifts in the history of measurement standardization, from the land surveying that drove Early Modern European land privatization, to the French Revolution that drove the Metric Revolution, to the conceptual dematerialization of measurement in the contemporary era of Big Science.

“Waiting M” stems from thoughts on the experience of death, triggered by the view of a cemetery outside my studio window and the images of the rectangular boxes, round domes, and ceiling. At the end of the century, in the 1990s drama “M,” the green-eyed protagonist warned of the end of humanity because of the virus.
On October 28, 1992, several people gathered together in the belief that their bodies would be lifted to heaven, but only one moth was able to ascend to heaven. On December 31, 1999, people gathered at Jonggak, listened to the sound of the bells, and waited for the end of the day. On December 31, 2020, those who could no longer gather greeted the end by listening to a virtual bell in a virtual space and began to wait again.

The video consists of images, sounds, and stories exchanged with people online to avoid the boredom of waiting for the end of the world.

A farmer discovers a fallen meteorite in the high Chihuahuan Desert.
The Alien Earth and the Earth Alien commingle under the spell of a deadly nightshade.

“Nazarbazi” (the play of glances) is a film about love and desire in Iranian cinema, where depictions of intimacy and touch between women and men are prohibited.

It is the experience of paramnesia of the images where Jonas Mekas still lives; we can hear him comment on the memory of an imaginary trip to Mexico.
This film was shot with an expired, 16 mm celluloid during a popular protest. This is a political movie that remembers.

“When the government invades us with their bureaucracy, massive machines of war, and public media, the only method for preservation that we can feel is to revitalize our sense of resistance and disobedience, even if we have to pay the price of anarchy and pessimism. We must question and strike at all public ideologies, values, and ways of life.” (Jonas Mekas)

“Perfect Fifths” is the portrait of piano tuner JJJJJerome Ellis, an Afro-Caribbean musician and artist. As a meditation on intervals in music, nature, and language, the film links the mechanics of the piano with the mechanics of the camera and the materiality of celluloid film.
The film oscillates between construction and destruction while tuning temporarily brings the world into harmony against the expanse of time, which brings suffering and instability.

The work(ing device) that resembles a clock prevents fixed time from being fixed to perceive an actual sense of time. It is not a type of clock that assumes and measures absolute time, but the image itself that arises from the power operating under the film and the relationship with the power. The image, which is the reality itself, cannot be divided by a celluloid membrane.
What exists as being real oscillates between the area of the virtual and the realm under the physically acting film.

Inspired by the diary of a migrant worker, the documentary weaves several social and artistic threads together: the life of a Thai migrant sex worker named Ploy who works in Singapore’s “jungle brothel;” the narratives of other migrant workers; an exploration of Singapore’s forests and public parks; and the process through which the artist-filmmaker delves into and revisits Ploy’s experience.
Ploy is a character and a collage of several visual forms, including paintings, photographs, photo-roman (photo-novel), 35 mm slide projections, letters, and an herbarium. The film reconstructs the journey of Ploy through an array of visual media.

“Walled-up houses, a notice of expulsion, immobile consumers in a café, an eccentric individual driving round on his scooter shouting, a sick old woman and her daughter glued to a television set, stray cats, the anxiety of a couple tetanized by the somber certainties of the future, and to finish, a cemetery overlooking the sea and night drawing in on the terraces.”

The picture of Jaffa in Palestine that Kamal Aljafari paints for us is that of a shrinking skin slowly closing in on its resigned inhabitants, who are crushed by fate, despite what they say about it as if the slow repetition of everyday gestures was their only way of suspending the course of time and delaying the inevitable.