Peter Conrad Beyer

The raven dreams of nature, he dreams of a world of plants and insects. He travels, flies into nature. He is nature itself. Nature itself dreams into trance.

This film, which was mainly shot in Mexico, deals with the spiritual power of this country, which can be found in both the nature and in its people. De dentro attempts to portray or conjure up the atmosphere of various rituals of the shamanic Maya and Huicholes tradition at a documentary and physical level.

hidden star reveals itself only after a period of serious personal struggle. Each of us has their own star; you too can make it shine.

Breathought is a cinematic attempt to deconstruct rationality; to this end it employs a number of different languages, as well as a videotaped landscape which periodically changes color. The result is the creation of a meditative state, which is intended to provide a neutral mental space for the spectator, hence facilitating access to a new level of communication and intuition.

Positive and negative collide. An open space emerges.

The structural opposition of images from nature and from civilization engenders a process of comparison and visual unification. This three-screen projection, in the tradition of expanded cinema, creates an apocalyptic atmosphere inclining towards the chaotic.

The raven dreams of nature, he dreams of a world of plants and insects. He travels, flies into nature. He is nature itself. Nature itself dreams into trance.

This film, which was mainly shot in Mexico, deals with the spiritual power of this country, which can be found in both the nature and in its people. De dentro attempts to portray or conjure up the atmosphere of various rituals of the shamanic Maya and Huicholes tradition at a documentary and physical level.

hidden star reveals itself only after a period of serious personal struggle. Each of us has their own star; you too can make it shine.

Breathought is a cinematic attempt to deconstruct rationality; to this end it employs a number of different languages, as well as a videotaped landscape which periodically changes color. The result is the creation of a meditative state, which is intended to provide a neutral mental space for the spectator, hence facilitating access to a new level of communication and intuition.

Positive and negative collide. An open space emerges.

The structural opposition of images from nature and from civilization engenders a process of comparison and visual unification. This three-screen projection, in the tradition of expanded cinema, creates an apocalyptic atmosphere inclining towards the chaotic.