I crawl through film (underground) that is made of grass

The silhouette of a man takes a few steps away from the camera, 'into' the image. His back is to the audience as he seemingly stares into the same view that we, the audience, see around him. There he stands, partially obscuring the image that is now projected over him. His body is almost still in contrast to the jerky, handheld footage which was filmed walking through what appears to be a cemetery. A second scene takes us down a long (underground?) corridor illuminated by strip lights. Throughout the film, the camera is in constant motion, penetrating forward, at times looking out from a moving vehicle. The sound we hear could simply be that of a running projector, but in combination with these murky images, a more ominous, foreboding atmosphere is implied.

Beneath our feet is a little-seen world. This film reveals the labyrinth of London's sewers, an Aladdin's cave of silver, and the GPO's unique tube railway.

“All Flesh is Grass” experimentally documents a prairie restoration project in northeast Missouri, combining source footage and handmade “botanicollage” film frames, using in-camera and optical effects.

This experimental animated short dissects the Earth's surface and soil. Filmmaker Alex Mackenzie uses a specially built film exposure device to study the insect world, with remarkable results. Living insects are rendered as photograms on the surface of film stock, pulsating and teeming with life.

This film was made for the site specific screening Fleur Power, created by Melinda Stone. She planted a screen of sweet alyssum (also called "carpet of snow") on a mountainside and asked artists to make work for this one-time event. This short film attempts to replace the grass which she pulled up in order to create the screen, while playing with concepts of scale and time.

The experimental short film is a fragmentary attempt to investigate the political potential of grasses, which in purely biological terms, in distinction to many other plants, do not grow from the root or from the tip, but from their own center. The short film does not fulfill expectations of a nature documentary, much more it explores the analogies to human and animal hair and thus dares a deconstructive attempt of diverse norms of beauty and design as well as ethics of use and exploitation that shape bodies and nature. The short film asks about the so-called "natural", about what is allowed to grow in our society and what is trimmed, shaved, cut and domesticated. The aesthetic breaks through the use of different media (Super 8 and Mini DV) and the "trimmed" screen not only takes a critical look at current reception habits, but also questions overarching norms and ideals, which is underlined by the song "mess it up" by catnapp and the integration of collected sounds.

The filmmaker as archaeologist uncovers layer after layer – hidden landscapes beneath the cityscape. Until within a sea of grain: WE SEE.

"We Lived in Grass" (1995) is a student film and Hykade's first part of The Country Trilogy. The set of the film is a place just two streets away from the end of the world. The film is told from the point of view of a little boy. "All women is whore and all men is soldier," the father of the boy says. "So go into Grass and kill a tiger for the best tits you can find." As the father gets testicular cancer, a journey into Grass for the young hero begins. We lived in Grass won numerous awards including the German short film Price.

Ever since I started making films it has bothered me in a certain sense that film images are far too concrete, because technically they try to imitate the sense of space characteristic of everyday life. So the story ignites the imagination only to be slowed down by the images and stops the viewer from taking a flight of fantasy. I have always been searching for an intrinsically different tool in filmmaking. One that could record space in its temporal progression. I would never have thought it existed!