All Films

A real-life-experience painfully remembered to create a visceral 12-minute film-noir triptych where original poetry and iterative AI direction reconstruct the psychological landscape of a near-fatal medical emergency, charting a journey from physical rupture to spiritual surrender. This is VERSION 2 of the work with ‘TRUST” audiovisual AI props substantially reworked. I have diagnosed C-PTSD, this is not an inhibitor but more of an enlightening factor.The poetic works are published in “lines that Linger’, ISBN-13 979-8275243222

In a visceral triptych of ego and identity, three different faces embody the same narcissistic impulse—ascending through self-mythology, imploding under the weight of their own reflection, and confronting the fragile threshold between decay and rebirth. I have diagnosed C-PTSD, this is not an inhibitor but more of an enlightening factor. A Triptych: The Arc of a Narcissist is structured in three movements—Rise, Collapse, and Decay/Rebirth—each featuring a different protagonist, yet each driven by the same psychological engine. Rise. A figure constructs themselves in real time. Language is weapon and seduction. Presence becomes dominance. The self is engineered as spectacle—polished, persuasive, untouchable. Identity is not discovered; it is manufactured. And it works. Attention gathers. Power consolidates. The ego expands until it feels indistinguishable from truth. Collapse. A new embodiment, the same traits. The architecture begins to fracture from within. Certainty curdles into paranoia. Control becomes dependency. The need for validation intensifies, exposing the fragility beneath the grandiosity. The performance falters—not publicly at first, but internally. The reflection starts resisting the script. Decay. Another face, but the same pattern stripped bare. Without admiration, the persona corrodes. Grandeur collapses into isolation. The self, once inflated, becomes hollowed out—an echo chamber of its own projection. What remains is not power, but hunger. And then the rupture. Rebirth. The cycle does not resolve through destruction, but through recognition. The narcissistic traits are not erased; they are seen. Awareness interrupts repetition. For the first time, the self is not performing—it is witnessing itself. Rebirth here is not redemption. It is consciousness. And consciousness is destabilizing. Across 8 minutes and 37 seconds, the film evolves from character study into psychological anatomy—suggesting that narcissism is not confined to one individual, but moves through many, wearing different faces while preserving the same core. This film is a personal observation of narcissism—an inquiry into how the self constructs, protects, and ultimately consumes itself. The decision to shift protagonists in each movement was deliberate. Narcissism is not a singular identity; it is a transferable pattern. By changing faces while maintaining the same traits, the film emphasizes that the arc belongs to the psychology, not the person. The repetition is intentional. The discomfort is intentional. All poems and lyrics are written by me. The narrative structure is mine. The edit is mine. AI tools were used to generate and sculpt the visual and sonic landscapes through iterative direction. These tools functioned as instruments—responsive to refinement, tension, and pacing. The authorship remains singular. Every frame was guided, shaped, and constructed with intention. The aesthetic is visceral rather than atmospheric. I wanted the audience to feel inside the psyche—inside the expansion of ego, the fracture of illusion, the suffocation of isolation. The pacing mirrors inflation and implosion. As the narcissistic core destabilizes, so does the visual language. Originally, the final movement ended in decay. But that felt incomplete—almost evasive. Narcissism often survives collapse. It mutates. It rationalizes. Yet sometimes, in rare moments, awareness pierces through the armor. The alternate ending acknowledges that possibility. Rebirth is not salvation. It is confrontation. It is the terrifying clarity of seeing oneself without distortion. This film does not condemn narcissism. It dissects it. It asks what happens when the mirror stops flattering—and starts telling the truth. As a result of my medical emergency in December 2022, I have some disabilities which have driven me to push my artistic and creative boundaries,

A 60-year-old poet’s iterative descent into the digital ether; "99 Years" translates a century of human trauma and beauty into a generative triptych, proving that the human soul remains the ultimate architect of the machine. I have diagnosed C-PTSD, this is not an inhibitor but more of an enlightening factor. As a result of my medical emergency in December 2022, I have some disabilities which have driven me to push my artistic and creative boundaries,

Once upon a time, in the previous millennium, there was a very cruel custom on planet Earth, in a country called Hellas. Once a year, always on a Thursday, the bipedal beings of the human species massively slaughtered, roasted over a fire, and voraciously ate other beings of the animal species, mainly quadrupeds, but also bipeds. But back in the distant 2025, on that Thursday, February 20, something happened that had never happened before...

“Miss Wacky Jackie” is a musical family-comedy film with a touch of mystery that follows 10-year-old Lina – a burst of creativity, dancing and uncontrollable energy – and her brother Niko – a quiet genius obsessed with strange scientific experiments. Lina and Niko’s family move to live in the quaint village of Gevrek and leave the city. Lina feels betrayed and convinced that her life is ruined until she finds new friends. And her acquaintance with Stefania Shieva draws her into a series of colorful and challenging events.

The tale of creating the earth and creatures according to the myth of Native American tribe "Hopi" , it's made of 3D CG animation.

In a room, during a rainy late afternoon, a closed-off and hostile man shares a table with a restless child who seems ordinary, driven by naïve questions. The dialogue begins lightly, almost playfully, but gradually turns into an intimate and relentless confrontation. The boy’s questions cut through buried memories, exposing fragmented episodes of violence, guilt, emotional loss, and irreversible choices. As the conversation unfolds, what initially appears to be fantasy reveals itself as a reckoning between past and present. The boy ceases to embody innocence alone and takes on the role of an accuser, while the man—once aggressive and defensive—begins to unravel. In the end, the child disappears, making it clear he was never external: the man remains condemned to inhabit the ruins of who he once was.

When Andrew visits his childhood friend Derek, their reunion reveals how deeply silence has reshaped their bond.

A young girl's late childhood pet has unfinished business. She must venture to the dream realm to confront him and make things right. This was my submission to for Mothership Monthly Film Festival's December 2025 Competition. Each month, a theme is announced and interested artists work as fast as they can to create a piece around that word.

A man and woman discuss the equitable division of a plate of bacon.

On a boring Friday night, 4 girls decide to kidnap a pizza delivery guy and use him as a sacrificial offering to Satan. Meanwhile, 2 thieves are planning a heist in their house, thinking it’s empty. Once the pizza is gone and the demon is summoned, there’s no way back for either group - especially when nothing goes according to any of their plans.

A tribute to the mothers of geniuses. They changed their children's world, and these children changed the world.

Patrick wants to commit suicide due to trauma in his life, while his best friend Luca tries his best to help him feel better.

A bar-goer is eager to join his friends for a fun night out. Things take a turn when an ex-bridge troll guards the entrance of his favourite pub.

As Joe leaves for work and heads to the train station, he senses a strange energy is a foot…is his neighbour/the head of the homeowner’s association following him?

A socially awkward workaholic woman has a co-dependent relationship with her cheese sandwich. Tension between them builds as her desire to pursue her workplace crush grows stronger.

Martin is a suicidal man haunted by the voice of an evil presence. The Mind's Descent is what it would be like if depression was presented as a horror movie.

In 2024 in small European village timid Maria keeps getting haunted by nightmares from her childhood. One night she discovers that her neighbour is plotting something sinister. Determined to fight this injustice, she has to take a stand against brutal traditions that still prevail in many parts of the world.

Trigger warning: this film contains images of a dying person. Piano Man is a 16-minute experimental short film that explores life and death through a deeply personal lens. Inspired by the filmmaker’s experience of losing his stepfather, everyday scenes and memories are woven into a non-linear five-act structure, hinting at the unseen connections between those on screen. Instead of a traditional development process — no treatment, outline, or conventional editing stages such as rough, fine, and final cut — Piano Man was shaped organically from an archive of five terabytes of footage, allowing the narrative to emerge in the moment, guided by emotion, individuation and discovery. The result is a cinematic journey that blurs past and present, inviting viewers to reflect on the loss of a parent and the larger questions of why we are here at all.

An uplifting poetry film built from years of archival recordings, celebrating the voice, humour, and hometown pride of The Hartlepool Poet.

A grieving mother returns to the cursed woodland where her son vanished, forcing her abusive husband to face the monstrous consequence of the violence he left behind.

SEVEN BLOOD-STAINED TAMPONS
A Giallo mutation of Cocteau’s La voix humaine Seven Blood-Stained Tampons is a lurid, confrontational reimagining of Jean Cocteau’s La voix humaine, filtered through Euro-Giallo excess and Proustian obsession. The film unfolds as a one-sided phone call between a man on the brink of collapse and the lover who is about to disappear from his life. What begins as theatrical melodrama curdles into something far more dangerous: memory becomes a trigger, intimacy mutates into violence, and longing detonates into murder. The film treats memory not as nostalgia, but as a weapon. Proust’s madeleine becomes a landmine: small sensory details spark uncontrollable flashbacks that bleed into the present. Trauma is not processed — it metastasizes. Each recollection pulls the protagonist closer to committing a crime he has already rehearsed in his mind. The murder is not the climax; it is the inevitable outcome of unresolved desire. At its core, the film exposes the hypocrisy of “respectable” emotional narratives. Cocteau’s original text disguises raw dependency and emotional sadism beneath elegant bourgeois suffering. Seven Blood-Stained Tampons tears that disguise apart. Same-sex desire is not treated as subtext or polite tragedy, but as something dangerous, humiliating, erotic, and volatile — a force that society demands be hidden, sanitised, and made palatable. The killer is not born from monstrosity, but from repression. Visually, the film weaponizes Giallo iconography: fetishized close-ups, invasive POV shots, obscene color, and deranged subjectivity. The killer’s preparation becomes ritual. The camera becomes complicit. The violence is ugly, excessive, and self-aware — not to titillate, but to indict the audience’s appetite for lurid spectacle. This is Euro-trash melodrama pushed past good taste and into self-loathing confession. Seven Blood-Stained Tampons is a film about emotional dependency, memory as poison, and desire as something society teaches us to turn inward until it erupts. It is a dirty mirror held up to polite tragedy — a love story that refuses to behave.

The ballad of the radio stems from a continuing series of meditations on culture, technology and the primacy of place and location. public and commercial radio transmissions have always signaled and attempted to represent the community in which it operates. Even simply the mandatory station identification cements the broadcast in a sense of place and often inspires a sense of belonging unattainable to even local television broadcasters in an age of satellite and internet/cable communication. Radio inhabits a realm of intimacy, its currency; sound and voice. An aural tradition that manages to hold on, adapting to evolving technologies. One of the most fascinating elements of radio is where it allows your mind to…