The Italian spaghetti western is encoded into the very DNA of the film, as Erickson utilizes a variety of different techniques to craft striking images with minimal equipment.

Aull’s work serves to remind us of how essential music is to our lives, and how the images a filmmaker captures are the building blocks of a symphony waiting to be written.

Carey’s experimentation with light and time opens a gateway to a ghostly world that feels comforting despite (or because of) its strangeness.

Guevarra keeps building upon this unorthodox construction by stacking images on top of each other, and the rigid borders of these opaque images clash against the bottom layer of footage in geometric disarray to further compound the lack of cohesion between every character, every word spoken, and every problem faced.

In Signals, the limitations of the medium’s form are a tool for mining the inherent dread of being unable to interact with whatever lies within the screen.

A film - like any other art form - is an extension of its creator, but it’s rare for an artist to be able to say that their work literally comes from within their body. With Holes, director Liam Marvin takes a deeply vulnerable approach to his formal experimentation by exposing all his insides for us to see.

Meyer’s work doesn’t take long to creep under your skin-and it’ll sit there for a while after like a bug wriggling around inside you, or like the itch of bite that you can’t quite scratch.

When the film cuts to black, the song won’t leave the viewer’s mind. These disturbing sonic rhythms reverberate past the screen and through the subconscious, burying themselves in your ears and promising to stick around for the next time you hear a knock at your door.

One of the keys to effective image-making that can often feel overlooked in the current cinematic landscape is the attention paid to texture. An image’s texture-whether crafted through film or digital-plays a great role in the viewer’s tangible relationship with the content of what they are watching.