Multidisciplinary Artist
The End in Slow Motion (2025) is a thirteen-minute film conceived by Joshua Kaufman and a creative team, including frequent collaborator cinematographer Matthew Kyle Levine, with performances by Marcia DeBonis, Sophie Kelly-Hedrick, and Diane Sykes.
A woman develops heightened awareness of the cruel world outside of an unnervingly calm house, as the threat of apocalypse stokes chaos.
Unsettlingly vulnerable, Not Everything is Funny is a montage of still photographs turning stale.
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Two young women with a shared history are unable to keep their neuroses at bay as the textures of a car’s interior act as the only witnesses to a claustrophobic conversation.
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Years after a fateful car accident, a reculse remains uncomfortable in his skin and unable to shake off the feeling that a familiar stranger is watching him from just beyond the trees.
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The film opens with a young man stumbling through the recollection of events leading to a traumatic head injury.
The second scene explores the panic-inducing kind of regret that swells from a loss of control.
Leadership Conference probes the subjective nature of experience - particularly of trauma - and the dissonance between our internal monologues and physical bodies.
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In the wake of a poet’s confession-style solo performance, the poet and two friends spend their evening debriefing in a car, and perform the social dance of exposing and downplaying their feelings on topics ranging from the mundane to mental health and queer intimacy.
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By way of achingly intimate lens, the film monitors a diverse group of characters in an amateur improv class over the course of one night.
Their interactions, whether genuine or act, become all-encompassing in the small world they create: witnessing each others’ reactions, reading their thoughts, and engaging in the emotional labor of being human with other humans becomes magnified during the film’s unflinchingly personal probe.
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As she makes a series of phone calls from a hotel room, a woman seeks intimacy from unseen conversation partners, while indulging and straining against her solitide.
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Capturing themes from pulp horror, this experimental follow-up to 2019’s Unchilding carefully assembles a world of inner turmoil and dread through a “ceremony of absence,” repressed grief, and subtext.
Trading a grand concert hall for an intimate, pared-down rehearsal space, Backward People appeared as a one-night-only performance in February 2020 at Manhattan Theatre Club Studios.
The hour-long sold out performance was set to an ambient soundscape and featured virtually no set, instead utilizing the concept of body as action. Placed in immersive proximity, the audience experienced the performers posed as ephemeral statues occupying an uncanny space between stillness and suspension, displacement and embodiment.
Program