May 31 1989 was the day of the Tarapoto Massacre, the largest hate crime against trans people in the history of Peru. The filmmaker, who was born on May 31 four years later, logs various events on this date throughout his life in order to unveil connections between oppressive masculinity, the nuanced tactics employed by imperialist forces, and a neoliberal dream that facilitated the neglect of an important episode in the country’s history.

Sergio, Ubaldo, Yolexquys, and Winston belong to different generations of the gay Cuban community. From their distinct vantages, they reflect on a collective historical memory: the early years of the Revolution, when LGBTQ+ people were sent to concentration camps. In a testament to their resilience, they underscore the power of being who they are.

An energetic, obsessively associative work that employs various AI narrators to examine the primary human-avian contradiction—more specifically, that birds are deployed as both symbols of settler empire and emblems of anti-colonial resistance.

This mesmerizing collage represents a tense, surgical cross-section of 60 years of historical violence in California. Comprising footage of the L.A. riots, slaughterhouses, wildfires, mid-century Malibu, and 90s’ newsreels, it unravels a cataclysmic future predicated on cycles of rebirth in the West.

After unearthing footage of Palestinian wild flowers shot by a Scottish missionary in the early 20th century, the filmmaker reclaims it to question the role of image-making as a tool of both testimony and violence when connected to entanglements between people and land.