In the Thirteenth century, a group of Satan worshipers, the Knights Templar, are captured during a ritual and brutally murdered by the locals. Just before the execution, the Knights swear to return from their graves to haunt the village and the nearby forest. Centuries later, in a post-apocalyptic future, a man and his daughter try to survive against both the undead Knights and a sect commanded by a mad preacher.

A group of disconnected people are brought together by a string of awkward events in post-9/11 Manhattan. A body-snatcher (Mia Tyler) is gathering dead bodies off the streets and no one seems to know why, especially the two detectives (Eddie Steeples, Peter McNolte) who are assigned to find her.

A group of disconnected people are brought together by a string of awkward events in post-9/11 Manhattan. A body-snatcher (Mia Tyler) is gathering dead bodies off the streets and no one seems to know why, especially the two detectives (Eddie Steeples, Peter McNolte) who are assigned to find her.

Just by watching Lupe stuck at home in her robe and slippers, no one would will guess that in the 80's she was a rock star. Gone are the times of concerts, fame and success. Agoraphobia does not let her leave home. She depends entirely on Paquita, his mother, a superstitious Mexican, with a huge heart, which not only takes care of his daughter but also her teenage grandson. The problem is that Paquita is running out of time and she doesn't want to leave without getting her daughter back.

A high school becomes ground zero for a zombie virus outbreak. Trapped students must fight their way out — or turn into one of the rabid infected.

A meditation on the relationship between grief, nature, and fatherhood.

Repurposing the video game Sleeping Dogs (2012), IN THE LONG RUN//WE ARE ALL DEAD is a single-take experimental machinima that unfolds within the rain-soaked, neon-lit streets of a virtual Hong Kong. Operating within the aesthetics of neo-noir, the work constructs a relentless pursuit—an enigmatic chase where the identities of both the pursuer and the pursued remain ambiguous. Sirens wail, bullets ricochet, and rain distorts the cityscape, reinforcing the sense of perpetual movement and existential uncertainty. Who is the runner? What is the nature of their escape? Is there an endpoint, or is the pursuit itself the defining condition of this digital existence? Offering no resolution, the machinima foregrounds the mechanics of pursuit as a metaphor for the relentless temporality of virtual worlds and the cyclical nature of digital violence.

Four Valentine's Days. Four stages of bulimia. Four bad, co-dependent dates with Jack. Angela is stuck in a seemingly endless cycle of her eating disorder: starve, binge, purge, repeat. With each day representing a different stage, Angela tries desperately to navigate both her friendship with her best friend and roommate, Kate and her co-dependent relationship with her very own St. Valentine over a four year period.

In 1935, a storm caused an English ship carrying coal to run aground in Bizkaia. Residents of Algorta gathered to rescue the coal, but Sabas Jauregui ignored their pleas and dragged his children into the storm.

A group of college friends rent an Airbnb for the biggest music festival of the year. But their weekend of partying quickly takes a turn, as the group is murdered one by one, in correspondence with the seven deadly sins.