On trial is a woman without an identity. We hear her thoughts and recollections of life and, eventually, her hope for reincarnation. A CENOTAPH FOR JANE DOE includes dialogue from various Julie Newmar roles, set to a slightly altered track by Cluster. The montage of subjective-camera shots was sourced from 46 classic films. ever.

Humans create narratives about themselves then make great effort to conform reality to that narrative. This wasn't a threat to planetary survival 10,000 years ago when we were scattered in small bands worshiping local deities and relying on nearby gathered foodstuffs with only stone tools. It's quite another thing when we are packed into mega-cities with nuclear weapons and ambiguous connectivity with relationships imbued in instruments that far exceed an individual's capacity to fully comprehend or to reliably navigate our various systems. The earth spins around the sun at 30 km/sec. The habitable atmosphere on this planet extends 6 km into space and is composed of distinct layers. The troposphere extends upward from the earth to a height of about 8 km at the poles, to about 11.3 km in mid-latitudes, and to about 16.1 km at the equator. The air in the troposphere is in constant motion, with both horizontal and vertical air currents. As we exert ever increasing control we inevitably invite ever increasing chaos. The planetary boundaries framework defines a safe operating space for humanity based on the intrinsic biophysical processes that regulate the stability of the Earth system. From global warming to the biosphere and deforestation, from pollutants and plastic to nitrogen cycles and freshwater: Six of nine planetary boundaries are being crossed, while simultaneously pressure in all boundary processes is increasing.

A sound and image response to these times, death and life. Life is a mixed bag, and we grab it because it’s our only bag. It’s plush with knives and we pick it up, and find in it sweets and nuts, and blood. Ruin has its joys, and triumph its sorrows. "You don't make the movie. The movie makes you."
- Jean-Luc Godard

Mysterious blue lights have spread across the city, depriving the living of sleep. They wander through the nightlessness like spectres. But some plants, the last sustenance of the wild and the dream, are developing curious abilities.

"A Robot of Me" is a short AI-generated film that plays out like a virtual reincarnation of Andy Warhol in the age of artificial intelligence. In an apparently mundane scene - Andy buying soup in a supermarket - a philosophical daydream begins to unfold. The film echoes his famous quote: “Machines have less problems. I'd like to be a machine, wouldn't you?” and raises the question of how Warhol might engage today with social media, AI, deepfakes, and prompts.

"Demi-Demons" is an essay film about the contradictions of contemporary existence, which separate us from our natural instincts, opening abysses within us. The glorification of the hermaphrodite, the hedonism of virtual realities, the search for new levels of physical attraction and forms of higher consciousness, ambivalence towards sexual reproduction, these abysses embody the existential struggles inherent in navigating the terrain between instinct and enlightenment in a rapidly evolving world. Demi-Demons is made and animated from vintage photos and collages, creating a surreal and thought-provoking atmosphere.

In my "The Stream series", I have expressed the transformation of landscapes as a result of the interactions between humans and nature.? In "The Stream XIII", the 13th in the series, I focused on how the landscape is transformed when the wind as a weather phenomenon streams through the fields and reed fields cultivated by humans. For sound effects, I used the sound of a wind chime. A wind chime consists of a bell made of iron with a weight suspended by a string inside. When the wind blows, the weight rings inside by wind pressure. I used the wind chime to perceive the invisible presence of wind as sound. And also we can perceive the invisible presence of wind as visualized wind ripples in the fields. I expressed the invisible scenery through sound and images.

In a realm embroidered with the threads of history's battles, the human form transforms into a poignant landscape, echoing the violence etched upon its land and people in the tapestry of the Arab land.

Into "Encounters at the End of the World", Werner Herzog writes: "There are deeper states of truth in cinema, and there is a kind of poetic, ecstatic truth. It is mysterious and elusive and can only be grasped through invention, imagination and stylisation'. This is the impression that Alberto Baroni's films give. In front of Le monde (a new card, after La force, of the Major Arcana of the Tarot), one feels suspended on the elusive ridge where reality and fiction overlap, as in a Fata Morgana, in a revelatory mirage. Through the figure of the mystic Mirabai of Merta, who wrote down everything she saw before she left the world, through sharp images documenting signs of life, Baroni tries to immerse himself in reality, to make transparent what is hidden, to pull back the curtain and see what lies beyond the first appearance. Pictures that follow a double movement, one centripetal, penetrating deep inside, the other centrifugal, towards a distant space. It is from the meeting of these two movements that an ecstatic truth emerges, a level of truth much deeper than that of everyday reality.

There is a story circulating among Zen Buddhist monks about two types of monks. First ones are settled and spend all their life in a monastery, they are identified with the blue mountains, while others are like white clouds – constantly traveling from one place to another. In the film, the filmmaker and Won Bo Sunim, a Lithuanian woman who decided to go to South Korea more than 20 years ago and become a Zen monk, embark on a journey in the mountains of South Korea.