The film Black Gloves (2026) stages an intimate and unsettling act of consumption. What begins as the familiar ritual of a YouTube unboxing shifts into a disturbing choreography of bodily ingestion, collapsing the distance between object and subject, desire and fulfilment. Newly delivered black leather gloves are unboxed, chewed, and eaten. Shot with clinical stillness, the work draws on the visual language of product advertising while subverting its promises of desirability and satisfaction. Polaroid photographs—historically associated with the recording of private or transgressive acts—punctuate the film as fragments of testimony, blurring the boundary between observation and confession.