Screaming Desert ( 2025 )

                                           

Screaming Desert drifts like a mixtape — images and sounds slip between moments like echoes,
building a collage where time folds and feelings spill from one track into the next.  My dad is mixed into this film
—his sacrifices, his love, and the silence around what was given so I could go. The film unfolds as a collage of moods
and moments—full of reverence, rupture, and the unspoken tensions between the repeated moments of departure and
coming back.



Chasing The Sound Out (2024)

               

Chasing The Sound Out explores the felt experience of infrastructure- not as fixed
form, but as something relational, rhythmic and alive.  Rooted in years living and working
in DIY spaces like Rinoceropolis, Club Scum and Goss House (2010-2016), the film reflects on
what it feelsl like to build and inhabit spaces outside of sanctioned spaces and places of use. 
It features footage from a house show at Goss House with the band BangPlay, alongside scenes 
of my father unloading/loading bricks from construction sites.  These moments ground the film 
in material labor, creative persistence and textures of making spaces. Chasing The Sound Out
asks: what does infrastructure feel like, and can the moving image get us closer to that sensation?
It resists surface-level readings and leans into the texture, mood and rhythm- rhythm not as 
repetition, but as uncountable, durational force.  With imagery shaped by collaboration, light 
experiments, memory and inherited effort, this film becomes its own ecosystem- a lived, relational
composition reflecting on space-making as both fragile and fiercely generative.                    





 Islets of Langerhans (2023)
                


                   
                     
Islets of Langerhans is an experimental film that drifts between memory, illness, and intimacy, centering on my mother,  her life with
Type 1 diabetes, the death of her own mother, and the ever-shifting terrain of our relationship. Playful in form but deeply rooted in
emotional truth, the film approaches the body—my mother's body—as both biological and symbolic, a site of inheritance, resilience,
and fragility. The title references the pancreatic islets that regulate blood sugar, but here they also suggest emotional islands—isolated,
tender, and trying to communicate. Blending  poetic narration, playful sound editing, animation and different visual textures,
Islet of Langerhans traces generational threads of love and loss.

COLLABORATIONS

Rat Tail (2025)



 
A transient loner—played by myself—begins to access their desire through magical realism, as their distinctive braid mysteriously comes to life.
Winner of the 2025 Kodak Film “100 Feet of Film” Contest.

Made collaboratively with filmmakers Gene Gregg, Kim Ruiz, Deena Ramadan and Kim Ruiz


Third Measure  (2023)


                                                                                                                                 

liquid blackness presents: Third Measure (2023)



Composed by Anna Winter, Josh Cleveland, and Cedric Simmons, Third Measure draws inspirations from Julius Eastman’s
concept of organic music to channel the ensemblic and archival practices of the liquid blackness group. Building on Jenn Nkiru’s
understanding of the archive as “something that has to be constantly creating and recreating,” and, following her  inspirational practice
in Rebirth is Necessary, Third Measure offers itself as a gathering place that refuses closure, ownership, and individuation. An archive
in the making as much as it is an archive of the making, Third Measure is more invested in sharing than in explaining. Images and sounds
come together as jurisgenerative ensembles that never conclusively land but produce instead a constant folding and unfolding, a care-full
and grate-full sliding forward that calls upon “lineages to come.”



Hearing from six LB members about their own relationship to LB’s method, practice, and praxis Third Measure ultimately channels a
rich of history of intergenerational collaborative processes that dare to reach for discursive spaces more capable of accounting for the
visionary practices of artists
“known and unknown.”


Research archive: listed in credits
Image archive: listed in credits
Sound Mixing; Anna Winter
Sound archive: Bill Dixon, I see your fancy footwork #2; Odyssey: Solo Works; Allusion I: Tapestries for Small Orchestra; Tapestries: Tapestries for Small 
Orchestra; Greed, Babe Rainbow;  Original sounds from Cedric Simmons; samples from Jenn Nkiru’s Rebirth is Necessary.



Earth Control Pill (2019)




Earth Control Pill- "Pool"

Music Video for Earth Control Pill
Directed by Laura Conway and Katy Taylor
Camera by Anna Winter and Kim Shively
Edited by Anna Winter



Megabog (2018)




Megabog "For The Old World"

To the end of the earth or the end of time we go.


Mega Bog - “For the Old World” (Official Video)
Director - Laura Conway
Director of Photography - Anna Winter
Editors - Laura Conway and Anna Winter
Production and Costume Designer - Meghan Meehan
Hair and Makeup - Gina Pugliese
Gaffer - Ben Hernstrom
With Erin Birgy, Emmanuel Calvin Luna, Drew Miller, Matt Bachmann, James Krivchenia