In the Trump circus, there is no belief in science, facts, or social distancing, masks are optional, and the pandemic is a hoax.

A geographical ghost story.

Fortune telling meets online marketing in a short film constructed from synthesised voices and archive material.

Larrimina examines the life of a person in the modern world through the perspective of time.

Threads is a monomyth, a personalised journey that the viewer is encouraged to take, through a series of events based on Irish folklore. Through a truly immersive audio visual environment the visitor experiences a direct visceral connection with the conceptual, the ancient symbolic motifs embedded deeply in Irish culture.

Filmed with a night vision infrared camera, a hunters' lair and a derelict house inhabited by bats set the scene for reflections on the link between humankind’s exploitation of the natural world and the outbreak of new virus pandemics.

Humans are increasingly being manipulated by social media Our life has evolved into a 360 ° live broadcasting field Under the constant visual stimulation The emotional reflex of the brain is cut off into short waves Like air bubbles floating in the air Easy to touch Emotion More and more "programmed" produced and perception.
2030 Human actors are finally replaced by AI actors

A movie freely inspired by the myth of Demeter and Persephone. An Orphic journey through the earth on which the film was shooted and buried later on. Death and resurrection of a film. Celebration of the circular mystery.

To their faithful inhabitants, Peru's mountains are a sacred space full of mystery. Nature is the focus, from juicy greenery to shiny mud, from biting winds to silent mist. In their midst, a healer who recommends not letting unimportant, worthless things distract you.

on of the circular mystery.

The audiovisual language was born, grew and developed from artistic activity. Audiovisual language is and will be an artistic process that evolves from art and the hand of artist in its two main channels: experimental cinema and video art. We firmly believe that audiovisual language must continue to evolve from experimentation and artistic activity. We firmly believe that all creation is always a recreation. The public domain allows us to recreate and recount, again manipulating the time and space of the sequences, (especially those that became unforgettable for us at some point), and, from an audiovisual economy / ecology, move forward with new proposals in this constant process of evolution that must be the audiovisual language.

"Bluetopia" illustrates a distance place of longing, an utopia open to everybody. It is the manifestation of „Yesterday the world was in order“ and „It´s all gonna be fine soon“, a timeless, protected space, free from rejection and condemnation - floating. The movie shows an animated collage of landscape photographs, taken by the Video Artist Stefanie Sixt at a magical place in the mountains of south Germany. The movie is an hommage to this gorgeous place, to nature itself which is so much more powerful than we are. Human do push their boundaries pretty soon spending time in the mountains. A return of the essentials, a relativization of the proportionally importance of things in life. Humbleness becomes real. The animation appears like a composition of cut outs in a foggy atmosphere - an animated set arranged as an abstract artistic landscape and space complex, inviting to daydream, to let go. It is a hommage to the pure beauty of nature. Just by rearrangement the wellknown, almost traditional turns into something abstract, reveals itself as something totally new. Markus Mehr approaches the topic from a critical perspective. In an ecologically and economically completely unleashed modern age, in which urban society is largely responsible for the extinction of species, land grazing, the completely unsparing exploitation of land and water, the return to what we call ""nature"" could mean a silver lining on the CO2-impregnated horizon. Bluetopia starts dissonantly, melancholically, without clearly defined structures and transforms itself in the further course to a composition full of grace. The orchestral dissolution of the piece suggests a supposed perfection, a harmonic exuberance that contradicts the previous one. On a fragile surface, blurred and distorted motifs are reflected in a sound biotope full of melancholy.