2021

'A film made from outtakes from a Job Corps documentary which features hand-tinted sections… full of small movements and actions, gestures begun and never completed. Repeated images, sometimes in colour, sometimes not. A beautifully realised type of chamber-music film whose sum-total feeling is ritualistic.' – Robert COWAN, Take One

'The film was made in 1967. You find out, if you don't already know, how naming tints pure vision.' – Michael SNOW 'The repeated images are such that they appear to be different each time; to be expanding. 1933 has a machine-mechanical doll rhythmic-like structure.' – Robert COWAN, Take One

Visualising the visible/invisible boundaries of socio-spatial stratifications, the film presents urban space in Hong Kong as a vivid showcase of the hidden logics of today’s world cities. The film contains three chapters—global, local, and border spaces—to illustrate the tension among their visual existence, function and ownership, and how the city’s public space has been constructed, used, owned, and interpreted.

The household of a Lisbon family is disbanded after a century. While the camera accompanies the further path of the furniture and objects left behind, a fragmentarily mounted exchange of letters off-screen bears witness to personal and historic tragedies.

Despite several requests from survivors, there is no memorial for the killed victims at Omarska concentration camp near Prijedor, Bosnia–Herzegovina, and the site of the camp is now a steel manufacturing factory. Once in a year, the premises are open to public for the commemoration. The film intends to construct a memorial in 3D animation from the archive images, videos, recent photographs, guided by the testimonies of the survivors of the camp.