A music video telling a powerful message of hope for those feeling trapped in any capacity. Shot entirely on an iPhone XR.

A flightless dragon's dream of soaring in the sky is reignited when she discovers the hidden potential of her fire.

Explore the exciting and wondrous animals of Africa in a musical fantasy world! From the tiny buzzing Flyolin to the kings of the African Sonata - the trumpeting Tubaphants, this is a celebration to rejoice in the gift of life and music!

"Taking the after-school special format and crashing it at high speed head-on with a whirligig of 90's VHS/video game/Nickelodeon trash imagery, Keith Eyrichs short ‘Bag Your Face is pure Nuclear Nostalgia - The highly questionable neighborhood traveling amusement park ride you can't get off of."

There was once a man, Henry, called the Lonesome Wolf. He went on two legs, wore clothes and was a human being, but nevertheless he was in reality a wolf.

A meditation on America.

A modern day an Avant-Garde film that serves as an open letter to one my personal favorite filmmakers, David Lynch. "My cow is not pretty, but it is pretty to me."

Experimental Video exploring footage taken at Florida beaches processed in real time using a video Synthesizer. All the source videos are from Florida beaches. Including Treasure Island, Clear Water, and more The video processing was ‘played’ in real time using a software Video Synthesizer. Much like an Electronic musician would perform audio by pressing keys and turning knobs, so was the video in this movie. The software runs on the iPhone/iPad app ‘VideoSynth’, currently in development. ‘VideoSynth’ processes and manipulates video in realtime on an iPad/iPhone, and allows for direct interaction to video sculpting For this composition the focus was on ‘geometric’ modulations, with some hue/color processing. iMove was used to add titles, edit multiple performances into a single composition with transitions.

A fractured consciousness locked in a perpetual cycle of explosive negativity is interrupted by a mysterious new illuminating presence, inciting a raw discovery of self and what it means to be complete.

On the day the prototypes for Trump's border wall are introduced to the world, the news unsettles the students and teachers who work in the Humanities Wing at the University of Toronto Scarborough. A shaken business major takes photographs of the Humanities Wing to deal with her shock, while others in the building struggle to understand and endure, to create and resist. In the tradition of Chris Marker’s La Jetée, Humanity’s Wing utilizes the business major’s photographs to develop snapshots of these diverse stories in this lyric, immersive, and urgent meditation on the ways in which what we build shapes who we are—and how the rise of divisiveness, destruction, and hate is countered by the need to create, connect, and love. (Warning: Includes flickering/strobing light.)

WAVE FORM explores movie viewing, sharing, and making as a means of confronting the experience of mental illness. It illuminates the sustaining, transformative powers of film by transforming a variety of “waves” from cinematic history—ocean waves, waving hands, waves of soldiers—through the luma waveform scope, a technical feature of movie editing software. Converted into luma waveforms, the original filmic images are rendered unrecognizable, their representational nature exchanged for a ghostly, mesmerizing shimmer. Through these transformations, WAVE FORM’s narrator, Luma, introduces the filmmaker’s struggle with depression and suicidal ideation, only to then meditate lyrically upon how the filmmaker has been preserved, sustained, and inspired by the movie as wave: as greeting, as lifting height, as surface with nourishing depth. The array of cinematic waves Luma names—the spectral renderings ranging from JAWS to MUSTANG to LA DOLCE VITA, from MOONLIGHT to CLOSE-UP to THE GLEANERS AND I—are hauntingly defamiliarized, made stunningly new, as their solid figures dissolve in an aurora borealis-like dance. WAVE FORM is a testament to the curative power of film, and creativity itself. Above all, it is a film about belief—belief in our creations to express and connect us, and belief in ourselves to create and endure.