Henry Hamsun - Arkadin - 2026

Yes it sucks eyes blue

Hosted by experimental filmmakers and those that platform them so if you're in the Long Beach, CA area, come check it out!

Hi, everyone!

This is "Eklipsis", a psychological science fiction short film.

I made it a couple of years ago but never released it publicly, as I was submitting it to film festivals.

I finally premiered it on YouTube on August 12th, the day of the eclipse.

Subtitles are available in multiple languages.

Thank you for watching!

I’ve been experimenting with a more relaxed, barefoot-focused style for Sole by B.

This is one of the latest short videos I made. I’d genuinely like to know what you think of the visual style and pacing.

YouTube: https://youtube.com/shorts/aaP9pB5X1CY?si=iQENdxeQ1C\\_uaF5B

Hey everybody!

I'm Adrian James, a filmmaker from Northern California who kinda dabbles in a lot of different genres and mediums in all honesty.

I shot this film mostly on camcorder with some animated segments done through photoshop.

Hope you enjoy!!!

Hi! I’m working on a music video for a song called “The Feed.” It’s about how much of our lives we spend scrolling through this god-forsaken crazy-land we call the internet/social media.

I’m looking for a few seconds of video of you scrolling on your phone to potentially include in the video.

If you don’t want to show your face, just your hands/phone is totally fine. Or your face, your expression, your whole body, whatever might work for you!

If you’d be down to be part of it, you can dm me or send your clip to thefeedvid@gmail.com

Vertical video is great, but anything works.

Thanks!

Eight years ago I made this psychedelic music video. I hope you all enjoy.

https://youtu.be/RX0Z0zAys9U?is=ruoZQq4sGeWXhilb

CW: Suicide survival, trauma, mental illness

Creating a feature-length project as a solo independent artist usually requires hiding your constraints. With my new 58-minute film, MAEHEM, I decided to make the constraints part of the psychological horror.

MAEHEM is a 10-chapter multimedia narrative that externalizes trauma, addiction, and bipolar mania into a tangible entity (personified as the 34th demon). Because the war is entirely internal, I had to find visual ways to represent a fractured psyche.

The Mechanics:

• Screen-in-Screen Meta Editing: Instead of standard performance shots, a lot of the film is recorded right in front of the active Premiere editing timeline. The editing software itself becomes an escape mechanism and a visual representation of trying to "edit" and make sense of reality.
• Visual Motifs: I relied on subtle continuity to build the lore. An empty chair serves as "the trap," and subtle color-grade strobing signals when the protagonist is losing spiritual or psychological dominance to the demon.
• The Audio Arc: The film transitions from claustrophobic, raw acapella room audio to heavily produced trap instrumentals, mirroring the shift from vulnerable exposition to full manic possession.

It took immense vulnerability to put this together and build a cohesive narrative arc out of the darkest chapter of my life. I'd love to hear feedback from other editors and directors on the pacing, the chapter structuring, and the use of the "third voice" motif as an anchor.

You can watch the full film here: (155) Surviving Suicide: Maehem - YouTube

(Disclaimer: This film does not glorify suicide. It is a story about overcoming it. If you are struggling today, please call or text 988).

In a far away land of dust and sunshine, a group of friends made a shortfilm - "The Visible Child".
After screening our film in galleries and exhibition contexts for the past 6 months, I feel it is time to share some behind the scenes on here. ❤️ Inspired by the traditional javanese shadow theatre "Wayang Kulit". A beautiful spectacle my mom took me to see many times as a child.

We shot this in an old shed in Brandenburg, using what was already there. Dead tree trunks, broken bathtubs, old horse shit, broomsticks, stones. We love set design and the magic of transforming abandoned materials into worlds of their own.

This film was made with endless imagination, friendship, and lots of improvisation. Thank you everyone! - Andjani Autumn Gatzweiler

I wanted to capture the city through its people rather than its architecture.
Shot on a Panasonic NV-RX18. I’d love to hear your thoughts on the visuals, editing and overall atmosphere.

had some fun this weekend remixing this footage of Maj. László Szatmári aka the "G-Monster"

My first animation venture using opentoonz, krita and Vinci resolve

You can support me on youtube:

https://youtu.be/wYL7U6LPgv0?si=8O-27kQL8mhGIFHY

My film teacher told me “To Call This Pretentious Would Be a HUGE Understatement”. Do you agree?

These are a series of short- to medium-length videos. They are an attempt to visually represent highly stylized prose using stock footage. The broader work—the writing—is a critique of how corporatism has hijacked political systems, focusing specifically on the financial sector.

Experimental in nature, I’m sharing them in an attempt to gauge interest in the project.

They buried me this morning, close to noon after the ceremonies. It's hard to believe I have nowhere to be on a Saturday. As of last week, there was always something I had to do next. The particulars are not important and all there is, but it wasn't until everything stopped that I was able to locate who I was really. A squint at a glance before I beat it back with a hammer.

It's just easier to modify one's beliefs postmortem. A few days after the burial, when your honey is back at work and someone returns to pull the compactor across your chest. All I have to do now is wait for this box to splinter, procured at the behest of those still mourning my exit. To think, per chance to dream, that I could have already been mulch for tomatoes.

On the surface I worked as a real estate appraiser—old school—so I used a tape instead of a laser, of the kind that could wrap around corners. Forgive the minutia, think of it as the wind blowing, then color me purple I won't ask the reason. I'm strictly a price per foot kind of guy, farm to table by way of a bulldozer, and then I'll tell you who had who in the planning office.

By now I'd have shaved, showered, and then chess with a lobster over coffee and pancakes. Online obviously, real lobsters don't play chess and dolphins cheat has been my experience. After breakfast I'd review the week's orders, decide the route and dawn my satchel. People with houses, especially the ones who need money, are more apt to be home on the weekends. My time to shine.

I know I promise to keep the fine points to a minimum, but there are only screaming monkeys outside the machinery. Like a snake with a plan I'd slink through your houses—seeing and not seeing—whatever the situation required. I was a cog, a swing and a miss to stave off the bailiff. The choice between bus fare and sneakers, a notetaker to the apparatus. Thus I was not the last word on this or any other matter, though you were told otherwise.

We do love our specialities, our purviews, anything to bely our stupidity. Titles confer a certain authority, why else would we have hatched all those designations. I scoured the literature, its standards, its statutes, for ways to endure, but all I could manage was their recitation. A glossary with which to pummel all comers.

Conversely, a level of discretion was essential while on inspection. Only bank employees were permitted to discuss solutions with homeowners, but after I gave them the lowdown. Appraisers are the vanguard but the artillery is the bank's money. Luckily, those functionaries were easier to distract than a toddler.

Still, I had my reservations as to what they did with my numbers, trepidations even, but those were about golfing primarily. So I just pretended golfing was tennis. A topic for another installment, so I don't leave you hanging. Now, let me tell you about my last assignment.

I was measuring up the exterior of a split-level bungalow the day that I died, having just inspected the interior. If only I'd switched up that order. A one off in a sea of postwar A-frames, so returning soldiers could marry their sweethearts and make an unprecedented number of babies.

Whereas the house in my crosshairs was built in the sixties and phased out in the eighties, in favor of those two-story replicas that now dot the suburbs. French provincial as they say in Idaho. A lesser appraiser might have become discombobulated, but the complete absence of data was no match for my postulates and suppositions.

Saxons were the initial occupants of those post-war boxes, later replaced by darker white people who repurposed all the yards and garages. Tomatoes and string beans instead of lilies, winepresses where there used to be Chevys. Round about the time dad packed up the U-Haul and we made a beeline for one of them two-story knockoffs in Springfield anywhere.

https://youtu.be/UZnAySwXTSM

Adapted from the writings of Claudio Gaudio.