EQUAL is a cinematic exploration of Richard Serra’s sculpture of the same name on display at the Museum of Modern Art. The sculpture consists of eight forged-steel blocks stacked in pairs. Each rectangular block measures 5 feet by 5 and 1/2 feet by 6 feet and weighs 40 tons. The blocks are rotated and stacked so that the top and bottom blocks align differently. Yet the four stacks are each 11 feet tall. This simple form makes me think about space, mass, weight, and time. Like the sculpture, my film seeks to both overwhelm the viewer and invite contemplation. THIS FILM SHOULD BE PLAYED LOUD IN A DARK ROOM
This is a story about creative and sensitive people. Their feelings get hurt (unrequited love, misunderstanding and loneliness) and they all end up in a metaphorical place (hospital ward) where they meet each other, talk and recover. The boy finds the girl he once felt in love with, the poet is now understood and admired and the girl is not lonely anymore. There is also a fourth character, he is a smoking silhouette, he has no feelings and he can only feel physical pain, it seems like he's living in a completely different world, he has no spirituality in him.
A gridded series of over 1500 improvised drawings in a tiny sketchbook, each smaller than a centimeter, compiled digitally into an animation.
This film is made from a stop motion sequence consisting solely of pieces of glass harvested on the shores of the Mediterranean. They were collected in a logic of 'care' for surveyed natural spaces. Symbol of the forces of nature that overwhelm us and slowly transform the artifacts we leave behind. The title is a direct reference to Marlene Haushofer’s book, Le mur invisible, which describes a feminine Robinsonnade.
This short film was made without using any filters or special effects. The only thing I did was making mistakes ( on purpose) while making colour corrections. All images used for this film originate from one realistic photo of a plant on my balcony. But by using deliberate mistakes in the process of colour corrections this realistic image did change in all kinds of new abstract images. So now I can say; “Welcome in my little (balcony) garden”. Because the images are far from realistic I did use a non- realistic soundtrack as well. Made using Audiomulch and Audicity. And yes originally there was the idea to not use any sound ^(because a world without sound is the most abstract one), but this did not work.
“And The Wise Soil Smiles” explores the legacy of a single stone, located on a walking trail in the desert landscape. An absurdist, animated videopoem, the stone stands as a constant witness to the shared, historic engagement of the trail, repeatedly traversed by a diverse cast of characters.
The film consisting of countless original risograph prints, is an under-the-camera, straight-ahead animation improvised to the rhythm of the scores of the Hungarian percussion group, Amadinda. The risograph prints are based on various mark-making techniques. Stamping, brush and monotype strokes, line drawings, fingerprints, letterpress accents, trace of the masking tape are mixed together in this rapid visual journey. However, the film uses only two risographic colors, teal and gold. The animation is a consistent conceptual work that avoids post-digital manipulation, consisting solely of a series of risograph prints captured frame by frame under-the-camera.
An experimental animation that [doesn't] talk about all the things we think in secret, that [doesn't] talk about all the things we think are seen. There is a life of our own, a life of the whole world that we unwittingly create, but also unwittingly ignore. An observation on the invisible world and its effects, a new view on the microcosm of the world, a new position in the world of shadows.
An experimental animated short that reflects on the struggle to find a direction in life. The film explores a shift in perspective and a quiet reckoning with dreams of achievement: their origins, their meaning, and what remains when they are left behind. Told with a focus on pacing, metaphor, and atmosphere, the story unfolds primarily through observation rather than explanation.
A small, panicked creature flees into the evening. Behind her, flashes of lightning, shrill cries... What is she running from, who is chasing her? Monsters? A greater power? Anxiety? Her past? And what is in the package she clutches so desperately to her chest?
The dreamer wakes up in abstract vastness. In this surreal space, terrain is unfixed and moves in time. As the dreamer starts running from the impermanent, they come to accept the unknown. Nothing can remain still.
“POETRIX” (2026) is a short art experimental that was inspired by my dystopian novel “The smudge” (Taxideftis, 2021). It is about the interaction of conscious and subconscious, how the subconscious is formed in the course of life and can affect our actions and consequently the world. It all begins with a nightmare that triggers a repressed trauma to resurface and brings the main character “The Creature” face to face with itself as well. The character, wishing to be free from fear, does a brave deep dive into the subconscious and goes on an inner journey, like falling into a different Hades, to face the nightmare head on. On the way, it finds what has been repressed, what could have caused its heartbreaks and oppression, socially and personally, such as traumas, stereotypes, anything external that could have disoriented it from its path while obstructing it from listening to its inner voice. During this journey, various questions arise, such as what is really trapping it from reconnecting with itself: Being trapped in its own mind? Being trapped in a system that alienates, consumes the individual in its mechanism and is made for human machines? An awakening process begins and the character experiences emotions, such as pain and anger. The mind then pushes the body into motion in search of a solution. It wonders if the disasters in the world and in nature are caused because the world within has been reversed, reflecting this anomaly, which results in destruction and self-destruction. At some point, it encounters the “Magical Creature” that resides within, its inner voice, which symbolically makes a purgative and atoning sacrifice, so that the main character can change perspective and find a way out of its mental cage, aiming for Regeneration and for a new beginning. Technically, I combine images with written words and music, so that they represent the course and the “magical” transformations in a subconscious, dreamy and irrational world, as a poetic metaphor. The editing was realized in two phases. The first, working with the photographer Katerina Cheiladaki on an Apple pc. The second, editing all the material, including the music, using an editing program on my mobile phone. Genre, technical characteristics: mp4, Experimental Short – Video Art, silent
Experience this rotating and hypnotic sensory-world, where gyrating nymphs express love beyond your wildest fantasies. Dedicated to parents everywhere who did their very best, this short film is a love letter to the grown children — especially trans, queer, sex working, and otherwise marginalized and criminalized folks — who surpassed their parents, in daring to be bold in pursuit of their best lives.
"Follow Dingdang to Learn Chinese Poems" is a series of AIGC-animated short videos dedicated to disseminating the essence of traditional Chinese culture. It employs elements such as ink wash animation, traditional opera music, and Chinese calligraphy—all featuring distinctive ethnic characteristics—to spread classical Chinese poetry and historical stories. Created collaboratively by Dingdang and her father, the production integrates various AI tools including Kuaishou Kling, DeepSeek, and MuseAI. Since its release both domestically and internationally, the series has garnered high view counts and positive social feedback. "Follow Dingdang to Learn Chinese Poems—The Hidden Land of Peach Blossoms " is based on the work of the Eastern Jin Dynasty poet Tao Yuanming.
Residual emotions manifest into an ecosystem, feeding the wheel of destruction (the tower XVI) & rebirth (the star XVII). Cycle after cycle, the womb seeks to purify itself. The Womb Was a Tomb: Transmutation of Sexual Violence is a 3D short film that dissects the biological and emotional impact of sexual violence. Organs store emotions, beliefs, and memory in Eastern healing systems. The womb carries a psyche, recording the event and co-creating a grotesque landscape. Driven by the Tower and the Star in the tarot, the womb-tower collapses and transforms into a lighter form each time.
Between the edge of sleep and wakefulness, an insomniac – a piano lover and prisoner of his own thoughts – plunges into a restless and surreal dream. Inspired by Bach’s Goldberg Variations, this animated short film transforms the routine of everyday life into a hypnotic sequence of visual and sound variations, where reality and fantasy blend. In a seamless flow, where time bends and space is reinvented, we follow the insomniac from a brief lucid daydream into full immersion in an oneiric universe filled with symbols, irony, and distortion. In this inner world, logic gives way to imagination, and everyday objects come to life, revealing the absurdity hidden in the mundane. With a visual language that drifts between the familiar and the surreal, and characters animated both by hand and digital techniques, The Gold Bed Deviations offers a sensorial and symbolic journey, inviting the viewer to dream with eyes wide open – or perhaps to awaken within the dream. Entre o limiar do sono e da vigília, um insone – amante de piano e prisioneiro do próprio pensamento – mergulha num sonho inquieto e surreal. Inspirada na obra “The Goldberg Variations” de Bach, esta curta-metragem de animação transforma a rotina do quotidiano numa sequência hipnótica de variações visuais e sonoras, onde realidade e fantasia se fundem. Num percurso sem cortes, onde o tempo se dobra e o espaço se reinventa, seguimos o insone desde um breve sonho lúcido até à imersão total num universo onírico povoado de símbolos, ironias e distorções. Neste mundo interior, a lógica cede lugar à imaginação e os objectos do dia-a-dia ganham vida própria, revelando o absurdo escondido no banal. Com uma estética que flutua entre o reconhecível e o surreal, e com personagens animadas à mão e por técnicas digitais, The Gold Bed Deviations propõe uma experiência sensorial e simbólica, onde o espectador é convidado a sonhar com olhos abertos – ou talvez a despertar dentro do sonho.
Logline A victim attempts to dissolve into the decaying luxury of Little Saint James, becoming as silent and tidy as the furniture, until the heavy black bars of public exposure shatter the illusion. Synopsis Constructed from a digital collage of decaying evidence, the film visualizes a victim's psychological dissociation within the billionaire's mansion on Little Saint James. Desperate to survive, she learns to become "part of the room"—silent, soft, and invisible. The visual narrative drifts through this fragmented paradise, exploring how a human being reduces herself to a mere background for someone else's life. This quiet tragedy builds until the H.R. 4405 act intervenes, where the secrets she desperately hid from her father are finally stamped into a permanent, public archive. Director's Statement / Motivation My goal was not to reenact events, but to visualize the sensation of commodification—how a human being dissolves into a rich man’s trophy or a piece of furniture. I used cut-out animation and digital decay to depict this dissociation within the luxury of the island. The film serves as a buildup to its final visual accent: the appearance of black redaction squares. These shapes represent the H.R. 4405 act. They are not just censorship; they are the heavy seal of public exposure. The tragedy lies in the timing: the squares appear only when the private nightmare becomes public property. They mark the point of no return, where the one thing the victim fought to hide from her father is irrevocably revealed to the world.
ATHENS ANIMFEST
