Dream images have influenced the way Iapproach making film and writing scripts. Dream analysis in varied methods, Jungian, Lacanian, shamanic has become a method for exploring unconscious drives within the sub-jects of my films. I work primarily with moving image, analogue and digital film formats, 3D imaging, found footage, video and photo-graphy.My most recent body of work is a trilogy which explores gender and its manifestations in a post-speculative mind/body assemblage of scenes, set within the modernist Interbau housing development in the Hansaviertel area of Berlin. It explores new perspectives on trans identity through the lens of a post psycho-analytic, schizo-analytic methodology,entangling rhizomatic forms of thought,systems theory, consciousess, machinelearning and quantum transformation.The films are shot on ARRI Alexa and drone cameras, observing the characters, objects and architectural environments from various perspectives, and experimenting with scale, exploring the micro- and macro-cosmos toinvestigate inner and outer space. The camera transverses the trans bodies, while the natural and artificial constructed environments evoke notions of the multiverse and the possibility of parallel worlds. Here, the drone functions as a machinic gaze exploring the constant flux of becomings, nonhuman perspectives, perpetual extensions of the relations between man and machine: evoking the repetitive patterns of movement and surveillance in the techno-sphere and the bio-sphere. It embodies anautomisation of perception, suggesting the possibility of the sublime in the non-human via Artificial Intelligence.The films approach the exploration of multiple subjectivities with trans protagonists through dream analysis & group psycho-analytic work-shops engaging with the multi-layeredunconscious. Scenes are produced by the characters in the films as starting points toexplore the manifestation of gender beyond desire and ego drives. Collaboration is amajor part of my practice. I participated in group dream analysis sessions, reading and discussions with the protagonists in my film, and the scenes are often not scripted. Jungian and Lacanian psycho-analysis were employed in Prototypes I as a way of layering different approaches for generating meaning. I utiliseda more fragmented, somatic approach inPrototypes II, which is influenced by the anti-psychiatry movement and the work of R.D Laing as well as the schizo-analysis rhyzomatic methodology of by Deleuze & Guattari.