Leonardo Pirondi

In Stanislaw Lem's book of the same title, a paper-destroying blight obliterated much of Earth's written history—except for what's in the book. In this film, we look at a similar but unmarked future, perhaps one less distant than Lem's 3140s. Amid the rubble of an uncertain setting, the narrated soundtrack reads from the last surviving parts of some bound pages, perhaps a reporter's notebook, a dream diary, or a book manuscript.

The great voyages to the "New World" were seen as expanding the frontiers of the visible and displacing those of the invisible, therefore maps from that time render the real and imaginary. The film follows a voyage of the Brazilian Military in search of an imaginary island with the same name as their country. In the myth from 1483 Brazil, or Hy-Brazil, is known to exist to the west of Ireland and above the Fortunate Islands. Visão do Paraíso is an examination of the capacity of the human imagination and computer simulations to construct environments. Amidst the fine threshold of the real, simulated, and imagined, the film analyzes the contemporary ideas of virtual reality and their ambition to expand the frontiers of the physical world into a "New World".

an excerpt of a conversation between James and I during the Fall of 2019 - Santa Clarita, CA

On an interstellar journey, a group of scientists studies the last living vestiges of Earth. The artificial intelligence, Museo, becomes a portal to the crew’s diaries and a fragmented archive of humanity. On Earth, the one believed to be the last of the humans traverses a ruined planet that is slowly recovering, little by little, from the apocalypse it endured.

On an interstellar journey, a group of scientists studies the last living vestiges of Earth. The artificial intelligence, Museo, becomes a portal to the crew’s diaries and a fragmented archive of humanity. On Earth, the one believed to be the last of the humans traverses a ruined planet that is slowly recovering, little by little, from the apocalypse it endured.

On an interstellar journey, a group of scientists studies the last living vestiges of Earth. The artificial intelligence, Museo, becomes a portal to the crew’s diaries and a fragmented archive of humanity. On Earth, the one believed to be the last of the humans traverses a ruined planet that is slowly recovering, little by little, from the apocalypse it endured.

A mysterious encounter in the middle of the forest that continues to repeat itself day after day, endlessly. An infusion like that of a labyrinth of the mind: strange, cyclical events intermingle with novels, short stories, and history, as if in intervals between naps, dreams, and readings during a nameless narrator's period of solitude in a cabin in the woods.

A mysterious encounter in the middle of the forest that continues to repeat itself day after day, endlessly. An infusion like that of a labyrinth of the mind: strange, cyclical events intermingle with novels, short stories, and history, as if in intervals between naps, dreams, and readings during a nameless narrator's period of solitude in a cabin in the woods.

A cave named 'Gruta de las Pesadillas' was known to be a place whereby entering the cave with a torch or lamp, you would see your darkest nightmares reflected onto the shiny minerals from the inside. I was given access to a written document describing the experience of a man at the cave in 1914. He writes about leaving his house, going to the cave, and his experience there—This film is a visual and sonic recreation of the described event.

A cave named 'Gruta de las Pesadillas' was known to be a place whereby entering the cave with a torch or lamp, you would see your darkest nightmares reflected onto the shiny minerals from the inside. I was given access to a written document describing the experience of a man at the cave in 1914. He writes about leaving his house, going to the cave, and his experience there—This film is a visual and sonic recreation of the described event.

iPhone video and SMPTE color bars were filmed on 16mm at 24fps. The digital overscan of the celluloid is played back at 0.24fps (1% of the original speed). The film is a sequence of 15-second shots in which the computer creates hundreds of frames sampling from three frames. It chooses how to build natural forms out of one of the standard test patterns of NTSC video created by The Society of Motion Picture and Television Engineers.

A film that explores the intersection of a virtual and analog image. Through the hand-processed 16mm and 3D simulation, the film questions what remains.

Forms of the universe, rocky landscapes, and a green and lush human-made city. It originates from a dream I had; it is both mine and from a traveler aboard a spaceship. The dream and traveler belong within the universe of my film Fractais Tropicais. Here, the hopeful and utopian human-centric imaginary of space travel and the future, filled with surveillance, control, and illusions, all fleeting like the images a dream can contain.

Forms of the universe, rocky landscapes, and a green and lush human-made city. It originates from a dream I had; it is both mine and from a traveler aboard a spaceship. The dream and traveler belong within the universe of my film Fractais Tropicais. Here, the hopeful and utopian human-centric imaginary of space travel and the future, filled with surveillance, control, and illusions, all fleeting like the images a dream can contain.

Forms of the universe, rocky landscapes, and a green and lush human-made city. It originates from a dream I had; it is both mine and from a traveler aboard a spaceship. The dream and traveler belong within the universe of my film Fractais Tropicais. Here, the hopeful and utopian human-centric imaginary of space travel and the future, filled with surveillance, control, and illusions, all fleeting like the images a dream can contain.

This pseudo diary film is made of found materials from an unfinished 16mm film. Potenciais à Deriva is a film started by a Brazilian artist under a pseudonym while living in exile in Los Angeles, California. Isolated shots and previously assembled scenes reveal an intention to create a mysterious film comprised of disembodied interviews, empty rooms, radio recordings, soccer games, and sudden apparitions of the filmmaker that slowly ruminates on Brazil's colonial past, North American Imperialism and the military dictatorship of the time in a paranoid and anxious manner. Be aware that the film's final version never came to exist. This version presented is my mere attempt to produce a film with these otherwise lost images.

This pseudo diary film is made of found materials from an unfinished 16mm film. Potenciais à Deriva is a film started by a Brazilian artist under a pseudonym while living in exile in Los Angeles, California. Isolated shots and previously assembled scenes reveal an intention to create a mysterious film comprised of disembodied interviews, empty rooms, radio recordings, soccer games, and sudden apparitions of the filmmaker that slowly ruminates on Brazil's colonial past, North American Imperialism and the military dictatorship of the time in a paranoid and anxious manner. Be aware that the film's final version never came to exist. This version presented is my mere attempt to produce a film with these otherwise lost images.

Set in the landscapes of Los Angeles, this hybrid documentary seeks to explore harmful cyclical occurrences that exploit natural resources and bring us closer to extinction. Following the discovery of a mysterious metal structure in the desert, this film documents the encased objects found within the structure. This film is made up of speculative recreations of the study conducted, analysis of the found objects, and surrounding landscapes.

Set in the landscapes of Los Angeles, this hybrid documentary seeks to explore harmful cyclical occurrences that exploit natural resources and bring us closer to extinction. Following the discovery of a mysterious metal structure in the desert, this film documents the encased objects found within the structure. This film is made up of speculative recreations of the study conducted, analysis of the found objects, and surrounding landscapes.

Set in the landscapes of Los Angeles, this hybrid documentary seeks to explore harmful cyclical occurrences that exploit natural resources and bring us closer to extinction. Following the discovery of a mysterious metal structure in the desert, this film documents the encased objects found within the structure. This film is made up of speculative recreations of the study conducted, analysis of the found objects, and surrounding landscapes.

Two neighbors bond after a shared traumatic event, a continuous home development creeps into nature's threshold, and a community celebrates freedom. The Instability of Clouds navigates an ecosystem in decay and growth while traversing across its spaces of comfort, spectacle, and disaster. Through the observation and construction of facets within a suburban neighborhood in Southern California, connections between landscape, neighbors, and environment ruminate on the American Dream and its resonances.

This film is an invitation for a new kind of horror film. Partially inspired by Freud's "The Uncanny" and the exploration of the etymology of the words ‘heimlich’ and ‘unheimlich’ or ‘homely’ and ‘unhomely,’ as it directly translates into English. This film looks into a familiar haunted house or, rather, a constructed environment haunted by its creator's ability to remain omnipresent. Designed with dubious goals, this room, or startup screen, is constructed to welcome you to The New Frontier of the digital era.

In Search of Mount Analogue journeys through ocean and land, bringing life to the imagined, metaphorical, and mysterious island from the 1952 novel, Mount Analogue, by René Daumal. The film uses 16mm film to capture computer-generated images that create an immersive, but rather odd, landscape of Mount Analogue.

In Stanislaw Lem's book of the same title, a paper-destroying blight obliterated much of Earth's written history—except for what's in the book. In this film, we look at a similar but unmarked future, perhaps one less distant than Lem's 3140s. Amid the rubble of an uncertain setting, the narrated soundtrack reads from the last surviving parts of some bound pages, perhaps a reporter's notebook, a dream diary, or a book manuscript.

In Stanislaw Lem's book of the same title, a paper-destroying blight obliterated much of Earth's written history—except for what's in the book. In this film, we look at a similar but unmarked future, perhaps one less distant than Lem's 3140s. Amid the rubble of an uncertain setting, the narrated soundtrack reads from the last surviving parts of some bound pages, perhaps a reporter's notebook, a dream diary, or a book manuscript.

This is Mine, This is Yours. Do not take mine and I may or may not take yours. A meditation on the unnatural lines drawn by human beings.

In 1934 an experiment by an amateur-scientist couple began. Named after a genus of moths, the Automeris Project placed a group of young children in an enclosed forest, leaving them to fend for themselves. On return visits, the couple presented self-made films, accompanied by live music, depicting the outside world. For them, these images were the perfect replica of reality seen in their expeditions. Nevertheless, the films were carefully framed, edited, and manipulated to induce a transformation and provoke the development of a new society.