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Tape Letters from the Waiting Room

An existential drama exploring the universal themes of death and rebirth. Tape Letters from the Waiting Room is an experiment in film archaeology and magnetic memory as it navigates past life experiences. Shifting in succession from the mundane to the metaphysical, the film is composed of extant 16mm found footage from the past century. An original soundtrack by Mark Vernon encompasses a rich collection of domestic tape recordings; audio letters, dictated notes, found sounds and other lost voices.

Tape Letters from the Waiting Room

NR 2020
Spirit of Place

The invisible becomes visible. Every room has a spirit which sleeps beneath the layers of peeling paint and wallpaper. Spirit of Place observes the awakening of such a spirit, coerced into life by moonlight to reveal sumptuous velvets, decaying gilt, and an assemblage of neo-Gothic objects d‘art – a ghostly reflection of its past. In one long, carefully choreographed sequence, pictures animate and a message is disclosed as the motion control camera passes on its programmed course.

Spirit of Place

NR 1991
Le Harem du Pharaon-Soleil

January 2011: a team from the University of Basel makes two spectacular discoveries. The first was a previously unknown tomb, which was given the number KV64 and contained two mummies. It had originally been created at the time of Amenhotep III for a princess of the 18th dynasty and was reused a few centuries later for the burial of a noblewoman of the 22nd dynasty. Right next to it is the already known burial site KV40, where the Basel researchers have now carried out excavations for the first time. They discovered dozens of mummies - an unusual find in the Valley of the Kings, where most tombs were built for just one pharaoh. Initially, the archaeologists estimated the number of dead at 30, but after months of collaboration with evolutionary scientist Frank Rühli from the University of Zurich, they came to the conclusion that there must actually be more than 90. Who were these women?

Le Harem du Pharaon-Soleil

7.7 2017
Who Killed The Princes In The Tower?

In 1483, the twelve-year-old King Edward V and his younger brother were put into the Tower of London by their uncle, Richard. Weeks later, Richard pronounced himself King. The boys were never seen again. For centuries it has been assumed that Richard killed his nephews in a craven attempt at glory. But according to some, Richard was no child-killing monster. Rather, he was the finest King England ever had. Others say nobody killed the princes at all, and they lived anonymously into old age, far away from the cut-throat world of the English court. This film seeks the truth behind the mystery of their fate.

Who Killed The Princes In The Tower?

NR 2020
HSP: There Is No Escape from the Terrors Of the Mind

There is no escape… From one side of the globe to the other, there is no escaping the faces, the visions, the ever-watchful camera. There is no escaping the mask, there is no escaping the resonating echoes of images and sounds that cross each other over time. There is no escaping the cinema. There is no escaping the terrors of the mind. “A mysterious loner, perhaps a poet, journeys through a series of uncanny surrealistic landscapes with an unclear purpose. His adventure is divided into three sections. The main theme of this experiment is to compare the eerier qualities of different landscapes and interpose the characters within them, elaborating the project’s ongoing preoccupation with extracting sinister moods from ordinary settings. In a way, these can be seen as experimental horror films in which an atmosphere of dread is evoked and sustained without the expected narrative trappings.”

HSP: There Is No Escape from the Terrors Of the Mind

NR 2013
Painted Room

A fresh coat of paint signifies a fresh start, But I only feel the walls growing thicker, and the room getting smaller. Shot entirely on VHS, Painted Room is an eerie, esoteric exploration of displacement and memory, told through the quiet rituals of a painter moving into a new home. As he brushes fresh coats onto the walls, strange visitors begin to appear—ghosts not of the dead, but of the displaced. The film interrogates what it means to replace the old with the new. Each layer of paint becomes a scar of those who came before—a visual metaphor for lives overwritten but not erased.

Painted Room

NR 2025