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- The Ridiculous Man is a 16-mm film adapted from a short story by Dostoevsky called "The Dream of a Ridiculous Man."
- The Third of May is a 16-mm film about a man who mistakes himself for the character being shot in Francisco de Goya's painting The Shooting of May Third 1808.
- A 16-mm fictional film meditation on exile, memory, and identity in the life of a survivor of Lebanon's Civil War.
- Vertices: Beirut-Dublin-Seoul is a Polyvision* video capturing fragments of a day in the life of each city. Simple scenes from every day life are recorded with a video camera, following in the tradition of the documentaries of the Lumière films. Each shot lasts 50 seconds, the approximate time a film reel lasted in early cinema. Although the succession of "cinematic" images enforces this objectivity as they record different units of perception, placing the images in a triptych creates a landscape that is entirely subjective, existing for the viewer as objects of contemplation. The concrete and objective realism of the photographic world is rendered through the "composed-subjective-masked" properties of a playful cinematic montage. First, montage within the image, forming time structures of varying speeds, color, size, and movement, while maintaining the 50-second duration of each shot. Second, montage outside the image, in the way the three screens are arranged side-by-side forming a contiguous space. The resulting single screen (landscape) presents three separate images at once: the two outside images often create a counterpoint to the central one as they are accelerated, slowed down, frozen, colorized, and morphed. These images are continuously being interrupted by newsreel footage of wars from the three cities transforming the 50-second shots from the rituals of everyday life into an historical time. The audio component enhances the viewing experience as well. Each of the three screens duplicates, repeats, and extends the found sounds, evolving into a single audio track with multiple layers of counterpoint city sounds: trucks, cars, planes, and trains, intermixed with momentary bits here and there of speech, screams, wind, sea, and so forth. The meaning of Vertices therefore cannot be understood simply by a summary of what it's plot. It is the form of the ensemble, that is the flux of image and sound, which contains the meaning, a form that is direct, yet as abstract as music, in which the audience experiences a sense of loss and immaterial time. *I devised this wide-screen process employing one camera and three projectors.
- A love poem in Paris.
- Asmahan is a film poem about the famous Syrian singer of the same name. The film is made up of four parts: love, death, love, and death. Each part follows one of the two songs Asmahan sings in the film which are used as a structural motif throughout. Like her musical notations, every shot is connected to every other shot. Nearly every shot contains Asmahan (she is the only actor in the film who appears to be talking), which is meant to create an obsessive relationship with the image reminding us of the interplay of voyeurism and exhibitionism that makes the actor that we see on the screen dream like, especially when she also sees us. This dream logic suggests that there is a hidden life, which exists through pictures, lurking in even the most superficial and trite of B-films. It is this fragment-like wholeness that is in a sense the structure of the film. As in a dream, Asmahan's actions are accentuated through a number of strategies: slowing down of the cinematic image, creating a montage of gestures, making familiar objects look estranged, repeating shots which look the same but are in fact different in their temporal and spatial sense, and the use of filters to transform her look into a romantic and haunting one (Garbo-like), but also an assertive one.
- The Leaves of a Cypress is an adaptation of a short story by Jorge Luis Borges. The original story is told from the point of view of one person, however, the video tells the narrative from various view points (both male and female) which are interconnected. Paganini's 24 Caprices play an important role in the overall rhythmical structure.
- Shot in the French coastal town of Biarritz during the 15th edition of the International Festival of Audiovisual Programs in 2002. An intimate portrait of the French filmmaker Claude Chabrol who was a member of the jury. Chabrol shares his views about language, nationalism, cinema today, technology and the internet, and reminisces about Eisenstein, Hitchcock, Lang and his passion for filmmaking.
- Learning of her father's suicide, Emma Zunz embarks on a crusade to exact revenge from Aaron Lowenthall, the man responsible for her father's demise. Set within the French coastal town of Biarritz this adaptation of Jorge Luis Borges' short story follows the transformation of a quiet, introverted young woman into a calculating murderer. Awoken from her uneventful life by the news of her father's suicide, Emma must change herself in order to perform the horrific task. She will need to exist somewhere between reality and fiction as she meticulously orchestrates events that will inevitably lead her to a simple act of justice.
- Antoine Galland (Misha Kuznatzov) buys a rare manuscript known as The Arabian Nights from an Arab Moor (Ellis Foster) living in Europe at the turn of the 18th century. While translating the manuscript Antoine realizes that it is incomplete. The Arab promises to deliver the rest but delays fulfilling his promise as he carries on an affair with Antoine's estranged wife, Alma (Nicole Wilder), who in turn becomes a sorceress in control of Antoine's dreams. Obsessed with the manuscript and distanced from his wife, Antoine fantasizes that he is a character in one of the stories he is translating, City of Brass, set in 10th century Arabia. Soon, Antoine's mythical search for the lost, forgotten city in the precarious desert landscape comes to parallel his own real quest for his abandoned wife. Through the act of translation Antoine undergoes a process of transformation. His only reconciliation with his wife takes place, allegorically, in the heart of the city's haunted landscapes, yet this reconciliation is unable to avert their separation. Antoine sails back to the Orient in search of the lost manuscripts.