black and white film where main character stares into camera with reflective sunglasses, showing a neat mirror trick

Rachel is a criminology student hoping to land a position as a teacher's assistant for professor Robert Starkman. She's sure this position will pave the way to an FBI career, and she's willing to do anything to obtain it -- including killing her classmates. The school psychiatrist, Dr. Daniels, becomes aware that Rachel is insane, but Rachel is skilled at her dangerous game of death and identity theft.

A wealthy New York investment banking executive hides his alternate psychopathic ego from his co-workers and friends as he escalates deeper into his illogical, gratuitous fantasies.

super-8 / color / silent

The artist faces a mirror on a window. The silvering is scraped away to reveal the trees outside. Another mirror is slowly put back in place.

Shot on 16mm, this experimental short follows a grief stricken woman battles with her sanity as her carefully constructed fantasy comes crumbling down in this retro-futuristic exploration of identity. Computer babble. Brutalist architecture. A future reimagined by the seventies. A dangerous world of technology confronting mankind.

"The film as a mirror and, as a further consequence, the phenomenon of identification primarily inherent in feature films, condense to a type of essence of film's potential. This film reports on cinema and the processes within it. In doing so, it doesn't reveal any secrets, but instead, attempts to transfer – in the sense of seeing what we see – what we do in the cinema and what also can be relevant outside of film into a visually stimulating and captivating event." (Siegfried A. Fruhauf)

A narrative short film.

A fascination with celluloid films own reflective properties, where images from life are reflected through the camera lens and imprinted onto the film strip. A reminder of the way in which sunlight allows images to appear onto surfaces such as water or glass. Though these things can all be easily explained through science, their appearance is other wordly, seeming to materialise from somewhere unknown. Therefore throughout the film the role of reflections directly influences the movements and experiences of two unknown women, where it is becomes apparent that it is they themselves who are reflecting each other.

The famed Hall of Mirrors sequence of Welles' classic noir The Lady from Shanghai is transformed through a succession of four algorithmic progressions of split screen patterns. The result is hypnotic, kaleidoscopic and a bit uncanny.

A mirror in the filmmaker's backyard reflects his childhood home. The black frame of the watermarked mirror becomes a mysterious portal, distorting brick, branch, and flesh into an amorphous hodgepodge. A self-portrait.