23rd Psalm Branch: Part II(1967)

A depiction of a girl’s uneasy state of mind as it wavers between life and death.

A first feature based on sexual events. An actress undertakes her desire of directing her first movie, without a budget or any production company funding her project. She gathers a group of professional actors and actresses, and proposes a project based on a very particular experience: stepping on their fears through a metaphorical 'leap of faith'. As the project advances, individual conflicts will arise affecting the shoot, making the movie crew wonder whether or not they should go on. Will they take the leap of faith with all its consequences?

Industrialization brings progress, but also harmful influences on the environment. Warning of the dangers of waste materials dumped into the air and the waters.

A surreal, moody short about the fetishisation of automobiles and auto accidents.

Unfurl is a minimalist short film composed of six contemplative shots featuring different colored plastic bags placed before a dual-camera setup, presented in split-screen from two contrasting angles. Each sequence begins with Devereaux's hand compressing a bag, then releasing it — allowing the material to slowly expand. The initial release is rapid, but the motion soon settles into a meditative, near-slow-motion unfurling, drawing attention to the subtle behavior of shape, light, and texture. Inspired by a live performance Devereaux witnessed of avant-garde composer Takehisa Kosugi — specifically his act of wrapping a microphone in paper during a performance at the Getty Center's Rajikaru! conference — the film channels a similar spirit of experimental material interaction, silence, and focused perception. Unfurl invites viewers to observe slowness and transformation as a form of quiet performance.

Digital Smoke is an experimental meditation on light, memory, and distortion. Shot at twilight in Minneapolis’s Loring Park, the film captures the moment just after sunset, when street lamps flicker on and reflect across the lake. As Devereaux moves the camera backward and forward, fading light introduces digital noise. Rather than correct it, he amplifies the imperfection, layering light trails until the noise becomes ethereal white clouds—“digital smoke”—that dissolve the boundary between image and abstraction. Frames evoke the hazy textures of J.M.W. Turner and the pixelated aesthetic of early video games, blending painterly romanticism with digital fragmentation.

This film describes a psychological state "kin to moonstruck, its images emblems (not quite symbols) of suspension-of-self within consciousness and then that feeling of falling away from conscious thought. The film can only be said to describe or be emblematic of this state because I cannot imagine symbolizing or otherwise representing an equivalent of thoughtlessness itself. Thus the actors in the film, Jane Brakhage, Tom and Gloria Bartek, Williams Burroughs, Allen Ginsberg, Peter Olovsky and Phillip Whalen are figments of this 'Thought-Fallen Process', as are their images in the film to find themselves being photographed."

A woman returning home falls asleep and has vivid dreams that may or may not be happening in reality. Through repetitive images and complete mismatching of the objective view of time and space, her dark inner desires play out on-screen.

A teenager decides to shut himself off from the world around him after receiving bad news.

A young adult's first-hand account of "accidentally becoming human again" after, and with, trauma induced depression. Lo-fi, vulnerable, and uniquely youthful, "The Afterlife" is a melancholic affirmation of life after death.

Rather than writing a simple letter to explain his absence from the press conference for his latest Cannes entry, "Goodbye to Language," at the Cannes Film Festival, instead, legendary filmmaker Jean-Luc Godard created a video "Letter in motion to (Cannes president) Gilles Jacob and (artistic director) Thierry Fremaux." The video intercuts from Godard speaking cryptically about his "path" to key scenes from Godard classics such as "Alphaville" and "King Lear" with Burgess Meredith and Molly Ringwald, and quotes poet Jacques Prevert and philosopher Hannah Arendt.

A trippy pop-art collage of phallic objects, naked women and American icons, most notably Elvis Presley.