A still from the feature film "Pill Head" showing Theda and Dion

Pill Head

We made this no-budget artsploitation feature film Pill Head to satisfy a need we had to make a film about films.

After an overdose, art student Theda becomes an unwitting specimen in her university’s experimental psych program. There’s a side effect, however — she slides into alternate universes.

If you happened to grow up watching Repo Man, Eraserhead and Wings of Desire, you just might like this movie. And to make sure it was definitely an art film, we made the entire thing in black and white. more>

A still from the feature film "Werewolf Serenade", showing Peter and Konrad.

Werewolf Serenade

In this feature-length werewolf comedy, burnt-out college professor Peter MacTire accidentally becomes a werewolf, he and his concert cellist wife Julia must embrace the change to thwart an occultist plot, save the college, and their marriage.

Werewolf Serenade, an ultra-low budget werewolf-comedy for the art-house crowd sprang from conversations with my collaborator and husband Writer/Director Daedalus Howell, around old horror films, intellectual films of the seventies, academia, Young Frankenstein, Rocky Horror and a general “madcap” vibe.

Coming Soon in February 2024

A still from the short film "Dad Works in the City" showing a collaged clip.

Dad Works in the City

Dad Works in the City is a short film that serves as an homage to the 1950s father figure.

It evokes the enigma of a father heading to work each day, his professional life and mounting pressures hidden from his blissfully unaware family. It also alludes to the sometimes hidden personal sacrifices made by working fathers.

The film blends Prelinger Archive clips with a specially crafted chiaroscuro-lit sequence.

A still from the short Film "The End Times" showing a collaged clip.

The End Times

Merging footage shot with an iPhone together with vintage Prelinger Archive clips, The End Times is a “poetry video” that uses creative collage to unfold an emotive, symbolic narrative, portraying the intensifying experience of a family’s unraveling.

Narrated with a poem and music overlaying the visuals, the film weaves modern and archival elements together, evoking an emotional aesthetic of a family in disintegration, change and upheaval.

Can we be made of place? Who would we be if we all spoke the languages of our landscapes? The living relationship we have with land and its aliveness in our own bodies is what drives my work.

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