Six cinematic volumes of short film, photography and motion — each one a hand-picked dossier from a guest curator. Subscribe to follow the editorial calendar, or stream a single volume on demand.
Collections are not bundles. They are arguments. Every volume is built around a thesis — a mood, a decade, a single gesture — and assembled over weeks with a guest editor who writes the framing essay, selects the contributors, and shapes the runtime order.
What you watch is a season in miniature. What you read alongside it is the kind of long-form criticism that streaming platforms forgot how to publish. Nothing here is algorithmic; the only recommendation is the next volume in the calendar.
Open any cover to read the curator's note, sample the stills, and stream the lead short. Members receive every volume in the calendar plus the entire back catalogue in 4K.
A volume on the specific heat of summer nights, edited with the novelist Iyana Reyes. Lead short: Pavement, in July.
Eleven films that treat the in-between space as protagonist. Co-edited with the Tokyo-based collective Studio Mokuren.
Observational shorts on bakers, luthiers, riveters, and a bookbinder in Lyon. A study of patience as a cinematic form.
A volume on singers who have made a single, extraordinary short film. Features a 22-minute essay on Arvo Pärt's daughter, Heli.
Thirteen films about the year everything changes. Edited with the film scholar Priya Anand; closing piece is a 41-minute debut from Lagos.
The volume that opened the shelves: a manifesto, eight films, and a 6,000-word essay on why the algorithm cannot write a foreword.
We don't accept pitches for single films. Every Collection begins with a question — usually a question we are tired of asking — and ends only when we have a runtime that defends the question. Most drafts are rejected by the third film.
"A Collection is a place you can stand. It is not a feed to scroll. We build the floor, the curator lays the carpet, the reader decides where to sit."
Most volumes take between nine and fourteen weeks. Below is the production calendar our editors share with their contributors — slightly romanticized, but useful as a guide to the rhythm of a season.
One paragraph: a question, a constraint, a taboo. The brief is shared only with the curator and the editor-in-chief, never with the public.
Twenty to thirty candidate films are scored on three axes: thematic fit, formal contrast, and unfinished-feeling. We discard anything