As mountains shift and echoes from explosions rumble in the distance, mysteries lie hidden in every corner of caves, streams, and trees. A mysterious light appears, as a young man and woman try to piece together the story of this place.

A chance romance with a girl that keeps matchboxes with pictures of missing people and searches for them at night, one night she disappears.

"Nocturnal Dream Disposal" is the first part of "Vernacular Dreamscapes" a multi-part audiovisual project with texts by Marc Richter, music by Black To Comm, visuals by Neue Deutsche Kunst (all the same person actually) and the voices of five artists of which Inger Wold Lund and Felicia Chen (Dis Fig) can be heard as short voiceovers in this film. The overall theme of "Vernacular Dreamscapes" is nature as a zone of the unknown and uncanny, an alien and alienated territory, a deserted zone. This is counteracted by the appearance of dreamlike and absurd phenomena and inscrutable cavernous architecture. A stringent plot is never revealed, reality remains vague. The zone is inhabited by places, dreams, voices and supernatural creatures and artifacts; drug-induced experiences are creating a psychedelic time-stretching experience. We’re reminded of so-called "Involuntary Parks“, forbidden areas made uninhabitable by human-made disasters. A primitive AI creates a world where Dhalgren meets The NeverEnding Story in Stalker/Ballard territory.

Your Dream is my Dream is a video about ancestral memory, shared identity and the collective unconscious. According to C. G. Jung we are all born with common patterns and ancestral memories, that he calls archetypes, that are the exact same ones throughout lands and cultures. These memories and the collective unconscious manifest itself mainly through art and dreams, particularly reoccurring dreams, that with minimal variations are indeed the same for all of us. We are all connected and somehow we all dream the same dreams. The chorus of reoccurring dreams in Your Dream is My Dream can be traced back to four main categories - impossibility, unpreparedness, self-consciousness and loss. Following a specific and different logic for each category, subtitles give additional body to the voices, both in Italian and in English.

He does not remember much from that time. Things have faded, like the color of a painting after too much light. The only thing that bothers him is this music. It keeps popping up... He thinks he has forgotten what it means. All he knows, for sure, is that he cannot get it out of his head.

Into "Encounters at the End of the World", Werner Herzog writes: "There are deeper states of truth in cinema, and there is a kind of poetic, ecstatic truth. It is mysterious and elusive and can only be grasped through invention, imagination and stylisation'. This is the impression that Alberto Baroni's films give. In front of Le monde (a new card, after La force, of the Major Arcana of the Tarot), one feels suspended on the elusive ridge where reality and fiction overlap, as in a Fata Morgana, in a revelatory mirage. Through the figure of the mystic Mirabai of Merta, who wrote down everything she saw before she left the world, through sharp images documenting signs of life, Baroni tries to immerse himself in reality, to make transparent what is hidden, to pull back the curtain and see what lies beyond the first appearance. Pictures that follow a double movement, one centripetal, penetrating deep inside, the other centrifugal, towards a distant space. It is from the meeting of these two movements that an ecstatic.

A composer recounts a dream from his youth that inspired the slow movement of his first string quartet, Prayer of the Sea. The dream, depicting a peaceful dissolution into the sea and wind, symbolized his future death. Decades later, rediscovering a drawing from the quartet's premiere - perfectly capturing the dream’s essence - revived its emotions. Now older, he reflects on the dream’s message: a serene acceptance of life’s inevitable end. Prayer of the Sea is an audiovisual elegy offering a calm perspective on the universal experience of passing.