In Söderquist's first film In Tuxedo, playfulness and improvisation are combined with absurd humor. An artist steps into an empty studio and begins assembling objects into a tree-like sculpture. The sculpture is adorned with small white paper clouds, puppets and undefinable items; all the while, the studio fills up with new things: a suitcase, a mirror and formal attire. The artist, now wearing a top hat and tuxedo, paints the paper clouds and the wall in a frenzy of activity, ending with his sitting exhausted in a corner surrounded by the mess he has created. The growing chaos, the various layers of narrative and the music of the soundtrack, which was improvised and recorded live during a viewing of the final film cut, interact in counterpoint.

Courtesy of Filmform

This film was produced by Robert Opel, who was scheduled to interview Divine, the star of Heartbreak from Psoriasis, and it premiered at the Kabuki Theater in San Francisco. When we saw the audience (including San Francisco wonders Goldie Glitters, Charlie Air-waves, Blaze Lust, Lux Zircon, Tom O'Horgan, Pristine Condition, Dimi-trie Kabbaz, Lee Mentley, among others), we decided that they were the ones we were going to film. So, with a camera and lights set up in the lobby of the theater, we filmed two intermissions.

Two simple, progressive accumulations intertwine at the edge of the Moffit Tunnel in the Rockies.

A collage film with sequences of live action with animation using cut-outs, found footage and pouring sands. A dark delicacy lingers. Superimpositions of dark pourings are perceived through the film. Suddenly a bright colour runs across the picture and delicate drawings flutter past. Grunts from animals are heard. Courtesy of Filmform

Scraps of text gathered from molding filmstrips and peeling chalkboards are photographed and intercut with pinhole shots from a schoolhouse.

The ground holds accounts of once pagan, then christian and now muslim ruins of the city built for Aphrodite. As she takes revenge on Narcissus, mirrors reveal what is seen and surfaces, limbs dismantle and marble turns flesh.

An intoxicating flower; a metaphorical insect; a longing reach across the centuries. The film is a philosophical search drenched in luminous colors and sparkling light.
(having grown the beautiful tulip I fell deeply under its spell- an affliction shared by an artist from another time and place- yet the dilemma we faced was shared: to fall for such luxurious and temporary beauty raised a fear (a reminder – a fly) of the transience of life).

An adventure film, a journey towards the light. This film is dedicated to Joseph Plateau who discovered the principle of the cinematograph. To the man who stared at the sun until he was blinded, while he was researching the slowness of perception.
This film exists because I really like the end of the Adventures of Arthur Gordon Pym by Edgar Allan Poe.
"Werner Nekes borrowed his title from the medical term photophthalmos, which defines a disorder caused by too much light on the receptor cells of the eye.
Although Nekes, certainly, always leaves you a little bewildered, he has the merit of experimenting with new forms of expression. His arctic light effects accompanied by the irritating music of Anthony Moore 'reduce the eye to starvation,' as one critic put it. Nekes is a creator of light effects. His films are a contribution to film grammar." - Mannheimer Morgen

A film from one of labodoble's series of experiments with natural (organic) film developers. The structure of the film is based on the chemical formula of a developer based on Rhus typhina. The main protagonist of the film is a species of flowering plant of the family Anacardiaceae whose leaves and berries are mixed with tobacco and other herbs and smoked by Native American tribes. We tried to apply the properties of Rhus typhina in photochemistry. The film captures the research, experiments, harvesting and preparation of the film developer in which the original negative was developed. The nonlinear structure of the chemical formula as well as the nonlinear research of the process are reflected in the order of the frames. No post-production except the sound. All editing work was made in camera before the chemical development.

A fictional re-enactment of a 5 minutes happening that took place during the Olympic games in Berlin 1936. Made on home brew emulsion and color toned with the helping hand of technical publications from early cinema and photographic experiments. The home brew emulsion as fragile metaphor for the heroism of Konrad and his horse Kurfurst. Falling from his horse he became a national hero but overtaken by history, an anti-hero.

PHYTOGRAPHY dives into the rich and varied world of plant chemistry. This collection of organic objets trouvés demonstrates how nature generates multiple creative solutions, each one structured intricately. Through the application of a simple chemical process, the selected leaves, petals and stems have imprinted their own images on the film's emulsion. Shapes, colours and rhythms whirl across the screen drawing the viewer into a world beyond language and speech.

Blades of grass race across the screen.

Suggestion allows negative space to be discerned – a hint of absent image – in an immersive cloud of coloured granules. Its substantiation lies in the viewer’s imagination, coloured by the dark ambient soundtrack. Deletion was shot on 16mm using home-made emulsion inspired by the more than a century-old autochrome colour process.

A tree in my temporary garden. A redwood tree! I love it! I loved to think about how she/he sees the world, sees people running around like crazy ants on speed …

Super 8 TriX film developed in tree bark, vitamin c and washing soda.

Filmed in the Andean Mountains in the traditional lands of the Atacameño, Aymara, and

Calchaquí-Diaguita in Chile and Argentina, ALTIPLANO takes place within a geological universe

of ancestral salt flats, volcanic deserts, and coloured lakes, coupled with a soundscape

generated from infrasound recordings of volcanoes, geysers, blue whales, and more. Located

at the heart of a natural ecosystem threatened by a century of saltpeter and nitrate mining

practices, and recent geothermic exploitation, ALTIPLANO reveals an ancient land standing

witness to all that is, was, and will be.

“Taiga” is my elegy to boreal forest.
In south Finland taiga has already started to change to temperate forest.
This film combines hand scratched animation with real tiny plants and moss.

The mythical metamorphosis of nymph Daphne into a bay-laurel tree is reapproached in

contemporary Rome, once surrounded by native laurel forests and still home to persistent

depictions of the woman-tree-symbol. From hedges in parks & gardens to laureate wreaths

for graduating students, this is a film made about Daphne, with daphne, with the black and

white negative developed in bay-leaf infusion. The camera lingers on laurel in Etruscan

burial grounds, the botanical code of Augustus’ Ara Pacis, Livia's garden frescoes and the

attempted rape of Daphne by Apollo in Bernini's baroque sculpture.

The two concepts of extinction and becoming are difficult to think of together, both are more than just metaphors and neither of them offers an easy way out. Extinction emphasizes the extraordinary level of disturbance and precarity that we have imposed on our and other species. Becoming signifies taking up the struggle of a collective survival together with the nonhuman. We might begin by perceiving the world not as "our" — our climate, our survival, our films and our images.