This was my very first roll of 16mm black-and-white film, shot on a Pillard Bolex. It was also my first attempt at film scanning — I mistakenly left a warm tint on the footage, but that accident gave it a unique tone. This roll marks the beginning of my relationship with experimental film, where imperfection became part of the art itself.

Filmed indoors within a surreal, almost dreamlike space, this piece explores alternative film development techniques. I used a reversal process to create a positive black-and-white image, then intentionally handled the film roughly during development. The resulting physical damage transformed the footage into something more abstract and alive — a distorted, textured vision of an already surreal environment.

This short was an experiment in capturing images under extremely low light. Using harsh, directional lighting, reflective plexiglass, and mirrors, I created an abstract, funky visual test to push the limits of the Super 8 format. The goal was simple: to see if any image could emerge from the darkness. The process taught me a great deal about the material’s sensitivity and expressive potential.

This test focused on the opposite lighting condition — soft, overcast natural light. The aim was to study how this specific camera rendered tone and texture in diffused environments. The result contrasts sharply with Freddi, revealing how different atmospheres shape the emotional and visual language of Super 8 film.