Esconde-Esconde

Jack's life (and kitchen) is turned upside down when his fridge begins to talk to him.

A young woman uses a strange telephone service to leave messages for her departed brother.

A short film shot on 16mm about memory, grieving, and siblinghood.

In 1960s Nagaland, a proud Konyak chief struggles to protect his dying traditions when an American missionary arrives with promises of aid that threaten his people’s identity. As his wife’s health deteriorates and famine looms, he and his mute son must make an impossible choice between survival and staying true to their ancestral ways.

A dancer falls. Can she get back up?

When a cinephilic line cook, Hogan, meets Sierra, the girl of his dreams, he must navigate his past trauma and deal with the truth behind his father’s absence.

On October 26 1984, an afternoon for three girls takes a thrilling and rather mystical turn after following a peculiar boy into the surrounding forest of their college town.

A forgotten history of Northern Ireland is unveiled through a journey into Ulster Television’s archives, and the rediscovery of the first locally-produced network drama, Boatman Do Not Tarry.

A woman is chased by the wind of an arriving train. What follows is a visual ride – the camera becomes a protagonist of the film itself. The levels of inner film reality and the film material influence each other more and more to the point of physical destruction.

Distortions and deconstructions of Y2K pop stars' seductive images and iconic hits.

"In the final format for MAGELLAN, Frampton had planned to disassemble these two films into twenty-four 'encounters with death' that were to be shown in five-minute segments twice a month. In their present state, seen together and roughly the length of an average feature film, the two parts of MAGELLAN: AT THE GATES OF DEATH constitute perhaps the most gripping, monumental, and wrenching work ever executed on film...Frampton in 1971 began his filming of cedavers at the Gross Anatomy Lab at the University of Pittsburgh. He returned to the lab four times over the course of the next two years and then spent nine months assembling his 'forbidden imagery' into an extraordinary meditation upon death."–Bruce Jenkins