Shots of a street filmed from a swing. An additional shutter has been mounted in front of the camera, creating a pulsating flicker effect. This causes the image to be interrupted and divided thirty times per second.

A Young man is interested in the girl next door, but also discovers that he is not insensitive to a boy, with whom he has dress-up parties in the attic and plays in an old bunker in the dunes.

a man with a moped and groups of boys (one in particular) are in conflict, which sometimes turns into erotic play.

For After the Colours, Mattijn Seip filmed abstract collages of strips. The first part of the film consists of footage shot by using rotating objects that were located between the camera and the collage. The image is thus split, causing a hypnotic effect. The second part of the film consists of a single shot of collages that keep changing. The images are interrupted by shots of flat colour surfaces.

A film about the beauty of impermanence and about everything that people throw away. A mix of recognizable images from reality and abstract images, which have been painted or made using colour filters.

Photos and film footage are edited, damaged, scratched, and painted. The original images are only vaguely recognizable, as if they are already part of our ‘tainted’ memory. The film was made in response to the death of Janis Joplin.

Investigation printed on an optical printer of inside and outside a film window.

Abstract colour compositions in yellow, red, and blue, created using an optical printer, are assembled layer by layer. To accomplish this, the filmmaker used film footage that he had already processed, scratched, and painted. Seip was trying to create an effect of depth in his film; this sense is reinforced by the intensity of the colours. The sound comes from a direct optical representation of the integrally edited audio track.