Post-credit scenes: results for “tag: ambient”

Sonzai Zone is a speculative fiction film on intimacy and loneliness after the normalization of ambient communication media. An unlikely encounter between Yún and Souvd takes place in a near-future where social interactions are largely based on the mediation of human presence, known as ‘Sonzai-kan’. Shifting between XR games, Immersion Arcades and spatial home displays, their insidiously orchestrated relationship escalates into extreme idealization. Meanwhile, Souvd’s ex-girlfriend Ntzumi launches into undercover investigation.

From turbulence to stillness, light and matter pass through a succession of transformations. Amid shifting particles and luminous forms, chaos gradually gives way to revelation.

Plagued with a debilitating sleeping disorder, Ben's existence is a lonely one. He spends his nights wandering the streets of modern suburbia, hoping to break the chain of his monotony.

Ten years after the biggest environmental crime in Brazilian history, Leidiane goes out to buy bread.

Lake gazes down at a still body of water from a birds-eye view, while a group of artists peacefully float in and out of the frame or work to stay at the surface. As they glide farther away and draw closer together, they reach out in collective queer and desirous exchanges — holding hands, drifting over and under their neighbors, making space, taking care of each other with a casual, gentle intimacy while they come together as individual parts of a whole. The video reflects on notions of togetherness and feminist theorist Silvia Federici’s call to “reconnect what capitalism has divided: our relation with nature, with others, and our bodies.”

The film choreographically covers the distance between two women and their mirroring selves, under Laurie Spiegel's soundscape and with the ambiance of VHS video. Their bodies, sometimes two and others four, are always connected with a rope, influenced by white noise retro interference, sound scratches and pauses. They approach each other until they connect and then finally completely disappear, nullifying the distance between them. The reverse movement of these similar bodies-idols aims to compose a dance of the two and the one, our close and more distant self and to reach to the void in between them.

A man steadily bashes through the snow. He disappears and the trees, covered in white, shift and show a beautiful array of hidden colors. A poetic, meditative short film about letting go of the past and embracing the unknown future.

A black-and-white visual meditation of wilderness and the elements. Wildlife filmmaker Richard Sidey returns to the triptych format for a cinematic experience like no other.

A short film that poetically explores the sterile landscape of music consumption in the streaming era.

A paralysed woman awakens alone in her bedroom, as time continues without her.

An ambient representation of depression with a slowly fading score building towards an uncertain climax.

A short film about Comet Lodge Cemetery and the many souls bound to haunt the small patch of land with a brief segment revealing their faces and memories, then shifting to focus on a particular ghost by the name of M.W Lovejoy who appears and goes through his mourning ritual which he is cursed to repeat for all eternity.

A space occupies it, awaiting to be unlocked by a freeing action or notion. What lies ahead is its determination.

In the middle of the night, you never know who can be a witness of your decisions...

Cozy up to a Christmas hearth and be warmed by a soothing and joyful atmosphere of holiday merriment, perfect for adults, families, and friends.

Beautifully filmed by New Zealand nature photographer Richard Sidey over the past decade around the polar regions, Speechless: The Polar Realm is a visual meditation of light, life, loss and wonder at the ends of the globe. This is the second film in Sidey’s non-verbal trilogy which is comprised of: - Landscapes at the World’s Ends (2010) - Speechless: The Polar Realm (2015) - Elementa (2020)

The observer gazes at the water, symbolizing life, & attempts to move upstream against the flow. When he reaches the source, he finds the struggle too much to bear. Eventually he decides to relax by the water, watching it flow by, embracing the calm. The water sound was recorded in Gheshm, Iran, while the visuals are from Abraham Lake & Jasper National Park, Alberta, Canada.

An atmospheric journey, following the unstoppable forces that shape this world. A story beyond humanity.

Filmed during the months of June and August 1984 in the Glen Canyon National Recreation Area, Mesa Verde National Park and the Navajo Nation. This program reveals scenes of the lushness of California's summer accompanied by the music of Windham Hill artists, William Ackerman, Alex de Grassi, Mark Isham, Shadowfax, and Liz Story.