12 Feb 2020
Anyone familiar with my work knows that I use an extensive amount of black screen in my films. I am obsessed with creating these lonely, isolated and vast voids within the structure of my movies. I look at them, perhaps in a philosophical sense, like black holes which they would suck the audience within themselves and maybe there is no way of returning from them. These are the moments where you turn the cinema to the audience and force them to become an ephemeral filmmaker on the spot. They have no choice but to fill the gap some information, an image, a sound or some form of a mental material. I think they are very frightening experiences to go through with and yet exceptionally provocative. The more you try to present the realism and getting close to naturalism, the less effective and hence artistic the product becomes. All art is profoundly fabrication and orchestrated thoughts whether you want it or not and therefore, it is just a matter of how to use these elements in your work. For me, it is fascinating how a filmmaker decides to construct the truth or falseness of reality in her/his films and more importantly so, how does one employ the techniques to execute these ideas?
Here is what Jean-Luc Godard & Jean-Pierre Gorin (Groupe Dziga Vertov) expressed in Lotte in Italia (1971):
“Yes, the first part work with reflections of you separated by black screens. Who produced these black screens? What is this black screen replacing? You discover that the first part was organised whole centred under the heading: society. The relationship between the black screens and the images of you stems from there. This relation has a name: ideology — the necessarily imaginary link of you and your actual conditions of existence.”