Michael J. Keplinger

In the short film “Iris,” a young couple embarks on a night in a remote forest in their van. When the young man briefly departs, their conversation in sign language reveals Iris to be deaf and mute. Once alone, Iris’ evening takes a sinister turn when she receives a series of ominous messages on her phone. These messages contain secretly taken photos of her in various locations, culminating in an image of the van at its current remote spot. It becomes clear that Iris is not alone. Fearing for her safety, she locks herself inside the van, draws the curtains shut, and turns off the lights, plunging herself into darkness and complete isolation.

A music video based on frame-by-frame animation for an original piece of music. Shown is an everyday, morning scene at home in the life of a young woman in the form of one single continuous shot.

In a final meeting, Laura chooses to say goodbye to her departed loved one.

Passing Through is a 16mm music video for the song of the same name. Analog aesthetics in both film and music create a timeless ambiance, with the latter crafting a mature narrative exploring love’s value amid human imperfections.

Stylistically monochrome and reduced in its use of language, the approximately 9-minute short film Allerseelen is a retelling of a nightmare actually experienced. For this reason, its narrative style largely dispenses with a strictly coherent and clear narrative and instead focuses on purely associative connections and dream logic.

False Neon God combines music, choreography and film, with each working as an interpretation of the others, as layers of sound and vision keep falling in and out of synchronicity while being opposed by their respective medium-specific antitheses.