how to write an ai guide in four steps (2025, 8'38", EN)

In a future without imagination, storytelling means recycling the past. A vintage tutorial narrated by an AI guides creators in combining fragments of old narratives — revealing that creation is construction, not invention.

The film was born in the first months of my daughter's life, when time seemed to fragment into repetitive cycles. I began thinking about how creativity often stems from recovering and reworking others' work — a process not so different from how large language models imitate meaning. The text is partly mine, partly my father's poems, dismantled and reassembled. Images and music follow the same logic.

from the sewers (2026, 12', EN)

During a cognitive interview, a professor recalls an old AI he designed and finds himself lost in fragments of memory and thoughts he can no longer tell apart from the machine's.

I wanted to imagine the moment an AI begins to “grow stupid” — the extreme consequence of a bug I feel we are collectively experiencing. The film asks what makes us human at a moment when memory shapes identity not as lived experience, but as an archive to be reorganised. The visual style is restrained, broken only by brief hallucinations.

tom from colorado (2026, 3', EN)

Produced for the Internet Archive Remix Contest 2026, using CC0 public-domain materials including at least one film from the 1930s. Selected among the ten finalists.

I have assembled released 1930s footage into a meditation on family memory, on how memories dissolve in form yet persist in the emotional landscape.
A short exercise in found footage as affective gesture, you can watch it here.

the aquatic ape hypothesis (2026, 3', IT/EN)

An unexpected sighting leads to the aquatic ape theory, an unproven evolutionary hypothesis imagining an amphibious origin for human beings. If we cannot verify the past, on what do we base the future?

The film begins with an accidental image. A mistake becomes a starting point for questioning the distance between what happens and the moment we remember it. I did not want to resolve that gap, only to inhabit it.
The gesture of play, through the gaze of my one-and-a-half-year-old daughter, became a possible posture.

a moving panorama (2026, 16'48", EN)

Ten Super 8 reels filmed between 1970 and 1974 become a moving landscape of memory. Through repetition, split screens and visual correspondences, the film explores remembrance as an act of crossing rather than returning.

I want to die just simply because I am tired or the manual of the reciprocal imitation (2026, 12'30", ITA/SPA)

A parrot remembers a lost love: the family pug. Through a language made of imitation and fragments of memory, the film explores grief as an impossible process of translation, and the impossibility of processing a loss that continues to elude words.