In Vito A. Rowlands' "Entre les Images", orphaned 35mm frames from lost silent films are threaded together and interlaced with narration relating a tale of youth, love, war and grief, the conflagration of a world at war poetically mirrored in the burning of nitrate film.

New York, 1927. An aspiring model goes to have her picture taken, but a camera can have a mind of its own.

New York, 1927. An aspiring model goes to have her picture taken, but a camera can have a mind of its own.

New York, 1927. An aspiring model goes to have her picture taken, but a camera can have a mind of its own.

Seven tales of transformation poetically reimagine Ovid's "Metamorphoses" and paint a picture of violence and catharsis, anchored in mythical landscapes.

A man struggles with his faith and is perennially caught between ascension and fall. "Ascending Double Helix" explores the boundaries between the mythologized and the visceral body, blending sculpture with the sublime, and taking as its cue the motif of ascension and the format of the passion play.

If the eyes are the window to the soul, "Immaculate Generations no. 1" presents its viewer with a singular look into thousands of souls. Equal parts Carl Sagan and William Blake, this flicker film is composed of tens of thousands of individual retinal photographs from public scientific databases. Its flickering landscapes evoke the violence of the big bang and balance somewhere between threat and seduction, like the paintings of J.M.W. Turner. Animated between 12 and 24 frames per second, they make for a dazzling rush into the maelstrom of life as we perceive it.

"Flames that Drift" (Laai ende Drift) is an experimental poetry film on super 8mm film that enters into direct intertextual dialogue with Antwerp poet Paul van Ostaijen's 1921 collection "Occupied City," and more specifically his "Music Hall" poems, and set during the 2020 Black Lives Matter protests in New York. Like van Ostaijen, looking at Antwerp from his voluntary exile in Berlin, Antwerp writer-director Vito A. Rowlands turns the camera on the city that is home to his own voluntary exile, New York City. The film ascertains how his new city, much like his own, has been occupied, if not infected, with viruses that have debilitated Western society for centuries; viruses that we propagate ourselves; that we use to enslave others, in the name of progress; by authorities as much as by aesthetics; by art that towers above us on a daily basis, looking down at us.

In Vito A. Rowlands' "Entre les Images", orphaned 35mm frames from lost silent films are threaded together and interlaced with narration relating a tale of youth, love, war and grief, the conflagration of a world at war poetically mirrored in the burning of nitrate film.

A man struggles with his faith and is perennially caught between ascension and fall. "Ascending Double Helix" explores the boundaries between the mythologized and the visceral body, blending sculpture with the sublime, and taking as its cue the motif of ascension and the format of the passion play.