FOREIGN PARTS portrays a hidden enclave of auto shops and junkyards fated for demolition in the shadow of a new baseball stadium in Queens. The film observes this vibrant community of immigrants - where wrecks, refuse, and recycling form a thriving commerce - as it struggles for daily survival and contests New York City's development scheme.

成都，是中国西部四川省的首府。摄于其市中心的《拆迁》，展现了有关城市、外来民工以及人与人间短暂的关系。影片首先探讨于建筑工地的形式条件，对劳动力的体力要求，以及人与机器间的关系，随后逐步将注意力转移到由三十位男性与女性产生的社会活力。这些来自四川仁寿县的人们一直参与着城市风景的无休止变化。通过对农村劳动者、工地管理者、城市居民以及拍摄者的镜头展示，《拆迁》旨在聚焦这些中国“流动人口”之间的交互作用。 　　Chaiqian (Demolition) is a portrait of urban space, migrant labor, and ephemeral relationships in the center of Chengdu, the capital of Sichuan province in western China.　Focusing first on the formal dimensions of the transforming worksite – including the demands of physical labor and the relationship between human and machine – the film gradually shifts attention to the social dynamics of a group of thirty men and women who have come from the countryside to work in this ever-changing urban landscape.　Chaiqian (Demolition) explores not only the interactions between these members of China’s “floating population,” but also the fleeting nature of experience for them, as well as for the worksite managers, city dwellers, and the filmmaker himself.

Songhua depicts the intimate and complex relationship between Harbin residents and their "mother river," the Songhua in northeastern China. By attending to the everyday activities of leisure and labor unfolding along the banks and promenade, this nonfiction video also explores the interface between aesthetics and ethnography as it addresses environmental crisis within a major waterway of China. Film Festivals, Screenings, Awards Shadow Festival, Amsterdam, The Netherlands, 2007 Jury's Pick Award, Negotiated View Film Festival, Happy Valley, Pennsylvania, 2007 SIGGRAPH, San Diego, California, 2007 Vienna International Film Festival, Vienna, Austria, 2008 Jury's Pick Award, PLATFORMA Festival, Athens, Greece, 2008 Babel Film Series, Nanning, China, 2008 Jury's Pick Award, Eyes & Lenses Ethnographic Film Festival, Warsaw, Poland, 2008 PDX Film Festival, Portland, Oregon, 2009 Contro-Sguardi: International Anthropological Film Festival, Perugia, Italy, 2010

The sun beats down mercilessly on all those who cross the Sonoran Desert between Mexico and the United States. Aside from the few people who live here, it’s the poorest of undocumented immigrants that make the crossing, who have no choice but to take this extremely dangerous route, followed by border guards both official and self-appointed. The horizon seems endlessly far away and deadly dangers lurk everywhere. It’s best to move under the cover of darkness; during the day, being exposed to the heat and sun is enough to make animals and humans perish. Their traces and remains accumulate, fade, decompose and become inscribed into the topography of the landscape, making the absent ever-present as life and death, beauty and dread, hostile light and nights aglitter with stars and promise all continue to exist alongside one another. El mar la mar masterfully weaves together sublime 16-mm shots of nature and weather phenomena, animals, people and the tracks they leave behind with a polyphonic soundtrack, creating a cinematographic exploration of the desert habitat, a multi-faceted panorama of a highly politicised stretch of land, a film poem that conjures up the ocean.

Sundog lives out in the Sonora Desert on the Mexican border. He is an elderly gentleman, who lives off anything that the brutal nature gives him, be it a wild boar or the psychedelic poison of a toad. 'A Shape of Things to Come' gives precedence to the sensory materiality of the desert instead of to explanations and dialogue, and moves beyond the human scale and down to animal perspectives. It creates a world that stretches from a distant past in the ecological movements of the 1960s to a possible future in the aftermath of the apocalypse. But the border patrol agents are threatening the peace in Sundog's desert kingdom, which the armed recluse is prepared to defend. Lisa Marie Malloy and J.P. Sniadecki's film is equal parts 'Walden' and Western, but the magnificent isolation stands in paradoxical contrast to the great, smouldering problems of our times. With the desert as the ultimate existential (and cinematic) setting, the film shows the relationship between humanity and nature at a critical time, when civil disobedience is the provocative answer to the most pressing questions.

Filmed for three years on China's railways, The Iron Ministry traces the vast interiors and thick gestures of a country on the move: flesh and metal, light and dark, language and sound. Dozens of rail journeys come together into a singular cinematic train that captures the anxiety and thrill of transitory encounters, and depicts the uneasy cohabitation of humans and machines on what will soon be the world's largest railway network.

One long tracking shot through a park in Chengdu.

Set in a quasi-ghost town that once thrived with oil in China's arid northwest, Yumen is a haunting, fragmented tale of hungry souls, restless youth, a wandering artist and a lonely woman, all searching for human connection among the town's crumbling landscape. One part "ruin porn", one part "ghost story”, and entirely shot on 16mm, the film brings together performance art, narrative gesture, and social realism not only to play with convention and defy genre, but also to pay homage to a disappearing life-world and a fading medium.