After three months submerged underwater, the men have become savages. Oleg fears that losing perspective may mean losing himself.
Writer/Director/Editor: Ariel Kleiman
Producers: Benjamin Gilovitz, Anna Kojevnikov, Sarah Cyngler
Director Of Photography: Peter Eastgate
Production & Costume Designer: Sarah Cyngler
Original Music: Maxwell Riess
Sound Designer: John Kassab
Sundance Film Festival - Jury Prize in International Short Filmmaking 2011
Cannes Critics Week - Kodak Discovery Award & the Petit Rail D'or 2010
Chicago International Film Festival - Gold Hugo for Best Short Film 2010
Leeds International Film Festival - Best International Short Film 2010
Sydney Film Festival - Best Short Film Director 2010
Tallin Sleepwalkers - Grand Prix for Student Film 2010
Australian Film Festival - Best Short Film 2011
Hamptons International Film Festival - Golden Starfish for Best Student Film 2010
AFI awards - Best Short Film Screenplay 2010
Nashville Film Festival - Short Film Vanderbilt Award 2011
Bucharest Next International Film Festival - Best Directing Award 2011
Seattle International Film Festival - Grand Prize for Best Screenwriting 2011
Beijing Student Film Festival - Best Short Film 2010
Australian Directors Guild - Best Student Director 2010
Mit einer Tischler-Kantenschleifmaschine wird vom Werkstück (Holz, Walnuss, Trafo, Schädel oder analoger Kamera) immer ein halber Millimeter abgeschliffen und fotografiert. Aus ca 650 Aufnahmen entsteht ein Kurzfilm, der die innere Struktur von Natur und Technik gegenüberstellt.
With an edge sander, half a millimeter is sanded off each work piece (wood, walnut, transformer, skull or analogue camera) and photographed. About 650 photos are made into a short film, which contrasts the inner structure of nature and technology.
“This is the way the world ends
Not with a bang but a whimper.” - TS ELLIOTT
Transience reflects the condition of every being in the universe seen through a sensitive, intellectual or even felt experience.
Even further, what humanity can’t describe, touch or identify is also linked to the same vanishing flow.
As big can be atoms or minuscule the stars, it’s all about sequences, pace, sudden apparitions or slow decay.
Humanity seems to have a unique potential in this constant struggle between life and entropy.
Whether our aptitudes help us prevail and evolve or instead accelerates our doom we have yet to decide.
That hesitation would come to an end with self-annihilation, but an end may just be a transition, a transformation.
Structured in a pseudo-timeline, the film is visually bringing a balance of positive and negative aspects in humanity. Slow or fast paced scenes, soft nature or hard concrete environments are shown as global human experience.
Initially a personal practice to bring mental concepts to life, this movie is achieved by two individuals, Julien Vanhoenacker as writer/director/VFX artist and Nicolas Vitte as music composer.
A great deal of computing power is needed to generate CGI images and the availability of the renderfarm of The Post Bangkok is a chance that allows this film to exist.
Creating these visual metaphors is a lengthy process spanning over many months. This allows ideas to be refined and become stronger in time, but also requires organisation, endurance and perfectionism, as well as the ability to stay focused on the initial intention.
Writing / Direction:
CGI / VFX:
Production / Renderfarm:
THE POST BANGKOK
YA CHUNG TENG