Bori Máté

Dr. Moreau is an abstract horror short, adapted from H.G.Wells' classic novel, that will invite the viewer to board on a tangible journey to the borders of science, where the differences between nature and humanity are blurred.

A retelling of Shakespeare's play from within the mind of the protagonist. The psychedelic appeal of the film was created with hand painted and rotten 35 mm and 16 mm celluloid strips.

the second part of "The Philosophy of Horror" series

The Philosophy of Horror – A Symphony of Film Theory is an abstract adaptation of Noël Carroll’s influential film theoretical book of the same title (published in 1990), which is a close examination of the horror genre. Our film uses hand painted and decayed 35 mm film strips of the classic slasher movie A Nightmare on Elm Street (Wes Craven, 1984) and its sequel A Nightmare on Elm Street 2: Freddy's Revenge (1985).

The Philosophy of Horror is a seven-part abstract adaptation of Noël Carroll’s influential film theoretical book of the same title (published in 1990), which is a close examination of the horror genre. The film uses hand painted and decayed 35mm film strips of the classic slasher movie A Nightmare on Elm Street (Wes Craven, 1984) and its sequel A Nightmare on Elm Street 2: Freddy's Revenge (1985).

This film examines the relationship between the 1950's movie gimmicks and the contemporary blockbusters through the synesthesia of the classical abstract cinema.

Dr. Moreau is an abstract horror short, adapted from H.G.Wells' classic novel, that will invite the viewer to board on a tangible journey to the borders of science, where the differences between nature and humanity are blurred.

A retelling of Shakespeare's play from within the mind of the protagonist. The psychedelic appeal of the film was created with hand painted and rotten 35 mm and 16 mm celluloid strips.

the second part of "The Philosophy of Horror" series

The Philosophy of Horror – A Symphony of Film Theory is an abstract adaptation of Noël Carroll’s influential film theoretical book of the same title (published in 1990), which is a close examination of the horror genre. Our film uses hand painted and decayed 35 mm film strips of the classic slasher movie A Nightmare on Elm Street (Wes Craven, 1984) and its sequel A Nightmare on Elm Street 2: Freddy's Revenge (1985).

The Philosophy of Horror is a seven-part abstract adaptation of Noël Carroll’s influential film theoretical book of the same title (published in 1990), which is a close examination of the horror genre. The film uses hand painted and decayed 35mm film strips of the classic slasher movie A Nightmare on Elm Street (Wes Craven, 1984) and its sequel A Nightmare on Elm Street 2: Freddy's Revenge (1985).

This film examines the relationship between the 1950's movie gimmicks and the contemporary blockbusters through the synesthesia of the classical abstract cinema.

the third part of "The Philosophy of Horror" series

The title of the film is the date on which the editorial staff of Hungary’s largest opposition newspaper, Népszabadság, was fired. The filmmaker tore up copies of that day’s issue, layered them, and then turned them into an urgent collage expressing his yearning for the free expression of opposition viewpoints. The visible edges of the film emphasize the impossibility of presenting information in a complete context.

The title of the film is the date on which the editorial staff of Hungary’s largest opposition newspaper, Népszabadság, was fired. The filmmaker tore up copies of that day’s issue, layered them, and then turned them into an urgent collage expressing his yearning for the free expression of opposition viewpoints. The visible edges of the film emphasize the impossibility of presenting information in a complete context.

Soil resounding, then the echo of dripping water submerged and muted in a river’s flow. A young filmmaker floats between old polaroids. Flickers. The recollected and the photographic become the canvas of a colorful intervention. The roughness of splashes seem an obvious reaction to years passing by in two minutes.

Soil resounding, then the echo of dripping water submerged and muted in a river’s flow. A young filmmaker floats between old polaroids. Flickers. The recollected and the photographic become the canvas of a colorful intervention. The roughness of splashes seem an obvious reaction to years passing by in two minutes.