TL;DR
Four short films where music and sound design are narrative language. Across all four, the score is the film’s psychology, with instruments assigned to characters, ML models standing in for impossible casting, and structural motifs (Morse rhythm, de Broglie wavelengths) carrying meaning dialogue never states.
Two of the four have been recognized at the Minervopolis Film Festival.
THE PHILOSOPHY
In my films, composition, performance, and technical innovation are a single practice. Four commitments follow from that:
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01
Composition informs narrative
Leitmotifs represent character psychology.
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02
Technical constraints drive creativity
ML models become the solution to problems that are otherwise impossible inside a 24-hour window.
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03
Sound design is storytelling
It supplements and improves dialogue.
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04
Hyperinstrument philosophy
Applied past the boundary of the traditional instrument: TTS models, sound-design systems, and biometric tools treated as instruments that “understand” and amplify a human psychological state.
01 · Before You Learned to Forget
2026 · Golden Owl Award — Minervopolis Film Festival 2026
Composer · Writer · Director
A woman frozen in time while the world rushes past rediscovers her childlike wonder through a series of “missions” delivered by a mysterious voice on a payphone. The voice turns out to be her own past self, embodied as an animated caterpillar that only she can hear… a being that, in its own eyes, sees butterfly wings already growing from her back.
The conceptual spine: physics as emotional language
The narration threads physics through the emotional arc.
- de Broglie wavelengths: every object with mass has its own lambda; the character’s grief is that her wavelength won’t harmonize with the crowd’s.
- Resonance: “when two frequencies match, when wavelengths align” is used as the moment she remembers who she was.
- Conservation of energy: Einstein’s “energy only changes form” reframed as “wonder is never lost, only forgotten.”
The music
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01
Meter & tempo
The film rocks between two bars of 3/4 and a bar of 4/4 at 100 BPM, looping that asymmetric pattern until the instrumental break, a rhythmic stand-in for a character who feels one beat out of step with a world moving in fast-forward.
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02
Harmony that floats instead of resolves
The tonic is dressed as Dmaj7, Dmaj9, Dadd9. Strong dominant-to-tonic (V–I) motion is deliberately avoided so the music hovers on tonic prolongation rather than pushing toward resolution: coloristic, ambient, pastoral.
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03
The signature move
The film’s fingerprint is a C♯ sonority built on the leading tone: voicing the note that wants to resolve to D as a shimmering, suspended color that pulls home without ever committing. What makes it the signature isn’t the chord itself but how differently it’s staged at the two ends of the film.
Hover or click to hear each C♯ voicing. The C♯ stays in the same place on both axes — from alone to surrounded. The unresolved leading tone is constant; the loneliness around it changes.
02 · FLUSH! The Flowers
2025, Buenos Aires · Best Audio Award — Minervopolis Film Festival 2025
Writer · Producer · Composer · Actor
A character-driven psychological drama built on an instrument-as-identity system — the film’s central sonic idea, and the reason it took the festival’s audio prize. Each character is an instrument family, and their music behaves the way they do:
- Allison (fragile) — woodwinds / flute: bright, airy, and breathy in the upper register, the thinnest and most exposed presence in the mix. It’s a sound that could be blown out at any moment.
- Brett (strategic) — cellos / low strings: dark, dense, and tonally pure, the most stable, sustained sound in the film. Every phrase sits low and lands with deliberate weight, always beneath and around the flute.
The drama plays out not just in what the characters say but in how their instruments interact — when strings crowd out the flute, when the flute is left alone in silence. The mix is the subtext.
Click a card to play that leitmotif. Click the other to add it on the shared timeline — the voices snap into the running bar rather than starting over. When both play, the mix stays HARMONY until 0:19, then DISSONANCE.
03 · STOP !
2025, Taipei
Co-Director · Writer · Composer · Actor
A 24-hour film built around a set of constraints turned into a structural or sonic device.
| Constraint | Solution |
|---|---|
| Must be made in under 24 hours | Full write–score–shoot–cut cycle in one day (Project Management) |
| Must feature Gordon Ramsay | Built Ramsay with a machine-learning TTS voice model |
| Must feature a fortune cookie | “Dirt” made from crushed cookies, message hidden inside |
| Must say “I wish I were on Jupiter” | Jupiter = the subconscious |
The music
- Morse code as rhythmic motif. The title-roll beat spells S-T-O-P in Morse code, as the film questions the communicative barrier posed by spoken language when the speaker lies despite physiological signals to the contrary.
(S · T · O · P)
Click to play the 24-hour voice on a loop. Dots and dashes light from the Echolocation MIDI notes, in sync with the audio — · · · / — / — — — / · — — ·
04 · How Have You Been Feeling Lately?
2024, Buenos Aires
Writer · Actor · Sound Engineer · Composer
The origin point of the psychological-triptych approach: three parallel therapy narratives, each a study in how childhood trauma resurfaces as adult behavior. Sound, space, and performance operate as one integrated system.
- Sarah — perfectionism → emotional eating → filling parental voids.
- Liz — abandonment → weaponized desirability → attraction worn as armor. (Delivers the mandatory line “Eat the Rich.”)
- M — self-dissolution → becoming machinery → humanity traded away for utility.
What These Projects Demonstrate
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Music as expressive technology
Hyperinstrument thinking pushed beyond traditional instruments. ML voice models, biometric-adjacent sound systems, and instrument-as-identity frameworks treated as instruments that understand and amplify psychological states.
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Rapid prototyping under extreme constraint
Custom tools (a Gordon Ramsay TTS model, character-mapped soundtrack systems, Morse-encoded rhythmic motifs) designed and shipped inside 24-hour and 3-day windows.
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Sound design as storytelling
Across four films, the score carries the load dialogue can’t: a chord that refuses to resolve, a fragile flute pressed by strategic strings, a beat that spells the title, three motifs competing for the foreground.