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A weeping moon. A longing body of water. A non-dimensional work exploring the absence that forms. An ode to reflections.

Hurricane anxiety takes a visceral form as the image searches for an escape route. Inspired by true events. Created on 16mm film and developed with comfrey, mint, yerba mate, and willow leaves.

Started as a filmdiary, “Ogni cosa nella luce si ritrae” is an attempt at assembling all the footage shot over the course of thirteen months through a logic capable of showing both its intimacy and distance. A hendiadys turned towards its incompleteness, towards the margin itself (here, each time: the film leader, the cut that links and separates the images), always and yet never entirely continuous/discontinuous, at the same time.

“There is much to say that I don’t know how to say. The words are lacking. But I refuse to invent new ones: those that already exist must say what can be said and what is forbidden. Beyond thought there are no words: it is itself. My painting has no words: it is beyond thought. In this land of the is-itself I am pure crystalline ecstasy. It is itself. I am myself. You are yourself.” - Clarice Lispector

Filmed over several months during the evening hours while all was quiet, the film explores the nocturnal resonances and traces of domesticity left dormant amid the stillness of night.

2025

A routine immersion into the greys is interrupted by the figure of a dog, whose
muzzle attempts to uncover the backstage.

Inspired by the phenomenon known as "scintillating scotoma," a visual disturbance often preceding migraines, this work explores the illusions created by the brain. In Ryunosuke Akutagawa's (1892–1927) posthumous work Cogwheels, cogwheel-like hallucinations appear as a precursor to his headaches, resembling the symptoms of scintillating scotoma. Learning that Akutagawa had stayed in Fujisawa's Kugenuma area for medical treatment and wrote several works there, including Mirage, inspired the creation of this film, which draws connections between migraines, Akutagawa's literature, and the town of Kugenuma itself. The work reflects fleeting feelings of discomfort and mysterious occurrences in everyday life.

Lectorium Sevcable Port

Official
Selection#2

This program is dedicated to the phenomenon of flicker — one of the most radical techniques of experimental cinema, which changes conventional ways of perceiving image and sound, transforming them into a liminal cinematic experience. The historical starting point here, of course, was Tony Conrad’s structural film The Flicker (1966), which opened up a new field of possibilities for the authors of experimental cinema, who subsequently used this technique with varying degrees of intensity.

However, it was important for me to intentionally expand the notion of flicker itself and to trace how this principle manifests across a variety of examples: in the pulsation of sound, ultra-rapid editing, phase repetition, color mixing, the duplication of text, and the layering of abstract imagery.

All of this makes it possible to address the potential fragmentation of film — its capacity to break apart into discrete impulses, ruptures, and intervals. Yet it is precisely through the rhythm and tension of these ruptures that filmmakers reassemble their works, transforming fragmentation into a unified sensory experience.

62 min

Program:

1. Jung An Tagen, A Flock of Rotations (2026)
2. Tess Martin, How Now, House? 2025)
3. Alexey Smolin, Sourceless (2026)
4. Elizaveta Zharikova, Cycle Centrifuge (2026)
5. Sergey Murashov, Pixel generation(s) (2026)
6. Long Pham, Lingua Automata (2026)

Saint Petersburg, Russia