Explore the noise untilyou have signal. Then exploit that. Good shit happens in the margins, between the stuff that didn’t workand the stuff that did.
A walk through Shakespeare’s world, in a series of moments. Some are known, some are only hinted at. The film moves slowly between stage and memory, between what was written and what it still does to us.





A weekend in the life of a hitwoman in Hong Kong, seen from a distance. The film walks far enough to see what she does and what she carries with her. It doesn’t ask us to judge her. It keeps us close enough to feel the weight of her days.



A celebration of spring, and of the Miyazaki films that taught us to look closer at ordinary things. The film holds on small moments from a time once spent in Japan, not to recreate them, but to keep their warmth.



A dive into a parallel future, deep in the American heartland. The film follows its own logic, unsettling and dreamlike, where the familiar slowly turns strange. It doesn’t explain what it sees. It leaves you to find your way back.



A Sunday, in a future that may be far away or may already be here. Humanity walks through its own streets, looking for itself. It asks what we would still recognize, and what we would be willing to leave behind.



A search for expression in its smallest gestures: what hides behind a look, and the play of light and shadow that gives it shape. The film is about the colors of the soul, quiet and close, found where nobody is looking.


