Under the Bridge of Fear

A woman’s face disappearing behind, and emerging from, a pair of hands. Flashing lights. An empty building full of dark hallways. Designs drawn in the air with light and long-exposure cinematography.

In the brief moments before a hate crime occurs, a young woman imagines her escape.

Claudia Recher is a young woman who has lived a horrible situation. Her sense of reality becomes an illusion as she struggles to assemble the loose fragments of wrecked life. The last witness of innocence and her internal conflicts.

A serial killer who frames bystanders turns a retreat and investigation to a nightmare.

A private detective investigates the disappearance of an ordinary young man, Gonzalo Sánchez. Through a rigorous investigation, the detective will discover secrets that will lead him to doubt the reasons for the disappearance and the nature of Gonzalo.

A woman returning home falls asleep and has vivid dreams that may or may not be happening in reality. Through repetitive images and complete mismatching of the objective view of time and space, her dark inner desires play out on-screen.

In 1989, Jun-Jieh Wang enrolled in Hochschule der Künste, Berlin, a year when the Berlin Wall was pulled down and the fall of Communism in the communist states of Central and Eastern Europe and beyond. He was astonished by these dramatic events. Several issues concerning politics, ideologies, aesthetics as well as the forms, market and power of art had been preying on his mind for so long that he lost the ability to make artworks and even questioned the value of the existence of art. His passively reactionary state of mind in this period was clearly reflected in the works simulating low-quality B-movies or TV programs, such as Killer Girl, Odyssey III (1990), Love, Die, Daredevil, Odyssey IV (1991).

A shy Portuguese poet and an exuberant English occultist meet up in Lisbon in 1930. When the last one disappears, an English detective begins a thorough investigation: was it a suicide, as reported. Or a homicide? This is the real story of the brief meeting between Fernando Pessoa, Aleister Crowley, and Hanni Larissa Jaeger.

Alone, driven by hope, a blind painter wanders through the shards and shivers of the past in search of hopeless certainty.

Two bored housemates turn to killing as a means of entertainment.