Jody Stillwater

Boys' night out to an Asian brothel becomes a bloody fight for survival.

Ulu (ʻŌlelo Hawai'i): “to grow, increase, spread, to protect, to rise”; Kupu: “sprout, offspring, germinate” or a “spirit or supernatural being”. Through video that mixes parallel visual narratives, Ulu Kupu follows a “Labor Hula”, a performance of harvesting plants/materials from the 'āina (land): hala which is used for weaving; wauke, which is used to create kapa or tapa, a textile; and hau which is also used as a textile or decorative fiber. This dance with the materials of the land is further expanded through the performance of a dancer, wearing the materials on their body and dancing in a wahi pana (sacred place) as well as in a grove of hau trees.

Speculative mutualisms of the future are revealed showing humans living in symbiosis with cyanobacteria and other organisms in scenarios that are peaceful, provocative, and surreal.

Queer performance artist and musician Saturn Risin9 returns home to the Bay Area to share their journey of perseverance centering self discovery, healing and creative expansion poetically told through dance, visual narrative, performance, and documentary.

A weaver navigates between survival and her connection to the land while a mysterious rash grows on her body. While working as a cleaner, she becomes entranced by a mysterious painting and learns it is inspired by a Hawaiian creation story. As her rash worsens, she realizes her drinking water has been poisoned by fuel leaking into the island’s watersheds, and undergoes a major transformation.

The Wind Telephone is a journey into the fantastic world of a child and the profound longing and love she has for her mother.

The Wind Telephone is a journey into the fantastic world of a child and the profound longing and love she has for her mother.

In 1979, Native Hawaiian poet Wayne Kaumualii Westlake (1947–1984) published MANIFESTO [for Concrete Poetry], a sardonic and avant-garde three-page poem that challenged the conventions of language and form. Reexamining the roots of Dadaism and the International Concrete Poetry movement of the 1950s, the film transforms text into a living, dynamic force—an interplay of words, sound, and movement that defies traditional narrative constraints.

In 1979, Native Hawaiian poet Wayne Kaumualii Westlake (1947–1984) published MANIFESTO [for Concrete Poetry], a sardonic and avant-garde three-page poem that challenged the conventions of language and form. Reexamining the roots of Dadaism and the International Concrete Poetry movement of the 1950s, the film transforms text into a living, dynamic force—an interplay of words, sound, and movement that defies traditional narrative constraints.