- The project
- Synopsis
- Director's comment
- Stills
- Artist's info
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His complex personality is not easily described by the usual adjectives applied to the artistic enterprise, inhabiting an area that lies somewhere between reality and fiction in a continuous interlacing of art and life.
The boundaries between these two spheres are pushed so far they almost disappear, the real becomes unreal and the fictive becomes plausibly authentic. Yet his method is “scientific,” even “alchemical,” and like every scientific system it could actually be applied to every field of the genuine.
Concerning the proposition of a new technique of film-making: instead of the traditional reproduction of reality with the use of convincing sets or a lifelike shooting style, he executes his movie by forcing reality to become fiction, by pushing the actual to become similar to what ought to be considered artificial. All the usual categories of realism, time and space, get lost in the name of a bigger general category, “the unreal.”
The actual film will be a sort of behind-the-scenes view of a documentary that was never executed. Going back and forth in time, the usual linearity of this dimension becomes elliptical to the point that it almost disappears or becomes unrecognizable. This creates different certainties and a variety of possible futures, until expectations and fears appear as something physical, opening up the possibility of experiencing an alternate world populated with monsters.
