Space Debris depicts the ongoing misadventures of the crew of the rocketship Typhon as they travel the galaxy eliminating pesky bits of space junk, all the while encountering aliens, black holes, and the captain`s angry ex-girlfriends.

After a disastrous event on his construction site, Armando acts quickly to save his crew, but instead stumbles upon an unspeakable truth.

A man unknowingly leads a double life.

Blow Debris similarly suggests narrative but prefers to offer it in the form of a drifting, almost aimless experience; the piece enacts a passage or journey as we follow a group of nude wanderers in a desert landscape. As with Electric Earth, what could be postmodern anomie becomes celebratory drifting. Aitken spurns a romantic nostalgia for a pristine past and its untrammeled landscapes in favor of the stories suggested by the discarded remnants and detritus that litter the expanse of the Mojave Desert. He also fetishizes the feeling of the desert. Even in the cool, dark space of the gallery rooms housing the huge projections, you sense the lassitude of the characters and time seems to slow down. And then things explode, time reverses, and you are compelled to walk around some more, from dislocation to relocation and back again.

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For Fabian, it's all a game: finding straight men who are curious, taking them home, undressing them one piece at a time. For Martin, everything is a health hazard. Until he meets Fabian.

A petty criminal, who loves a whore and wants to run away with her savings, meets a laid-off factory worker who is desperate to stop his wife from working as a housemaid.

A personal portrait of the director’s grandfather Opa, and his wife's grandfather Ababo, who remained in Venezuela after most of their family emigrated due to the economic crisis and violence in the country.

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A 13-hour miniseries detailing James A. Michner's fictional account of the American space program from the years after World War II to the Apollo landings on the moon in the early 1970s.