Eric Marsh

Hekla, a determined Chicago actress, races through auditions, breakups, and self-doubt over the course of one chaotic day, risking her heart and career to claim her voice and step fully into the artist and woman she's meant to be.

As various members of the Frank family come together for a college graduation party in Chicago, they find their bonds being tested -- and strengthened -- in surprising ways.

A woman and a man go on a blind date, both for the first time in years. Each faces the dilemma of how open and honest they should be.

Stuck on the side of the road on their way to a social distance party, two contact-starved millennials try not to connect on an intimate level in this Reform Jewish absurd comedy about grief, changing plans, and the lengths we'll go to avoid direct communication with the people we love.

A short comedic feature film comprised of three vignettes corresponding to the beginning, middle and end stages of a relationship.

Murder is a business done in an app. The poisonous city is a place of constant fear and violence. Vicious gangs compete for a chance to even breathe fresh air. This is the world of The Rider and he has one mission: escape.
 In this cyberpunk world, the hitman known as The Rider roams a decayed and toxic city, avoiding execution by rival gangs. He journeys into the near-forgotten natural world one last time as he faces off against a killer who gave up their name for a number.

An exploration of the faces and spaces of Lieutenant Martin Castillo, as portrayed by Edward James Olmos, on the television series Miami Vice.

A passing joke between pedestrians in early Quarantine turns into a good excuse to slow down in this bittersweet Chicago short at the intersection of generations.

On his first day out in the world after being released from a 5250 (the police code for a mental health arrest), Stanley is beset by troubles at every turn in the road as he walks around Oakland looking for something to hold onto.

A woman with agoraphobia and the Airbnb guest across the hall strike up a correspondence that becomes something more for the holidays.

In the labyrinth of suburban America, a soldier wanders through streets not as dead and empty as they may appear. A ghost story in digital camouflage.

George Sherman's western Tomahawk (1951, Universal Pictures) recut as a landscape film.

Ryland Walker Knight’s Mann’s Sparks is a hypnotic essay film that stitches together footage from Michael Mann’s iconic filmography with Beach House’s 2015 album Depression Cherry into an editorial masterstroke. As much as the film stands as a testament to Knight’s craft as editor, it also acts as a thematic dialogue between the dream pop band’s music and the images by one of cinema’s greatest auteurs, spanning Mann’s work from Thief (1981) to Blackhat (2015). It’s a mesmeric work, both visually and sonically, acting also as a document of Knight’s own development as an editor after suffering an injury and using Mann’s footage and the band’s album to relearn how to edit. Mann’s Sparks is a spellbinding celebration of cinematic language and how it can be reused, relearned, and reimagined into new possibilities.