09 Aug 2014

Feature Film

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This piece of writing expresses my personal views and does not reflect the whole of Experimental Film Society.

I never figured out why Cinema, for me, has always existed in the form of feature-length films. When I was growing up the very first films that deeply affected me were features. Perhaps it was the duration that became essential to the experience. In some ways the duration is similar to a novel, in that you spend a significant amount of time with them, and it requires an intimate delving within which the world and ideas of the work permeate your thoughts. But then again, time has unlimited ways of expressing itself in cinema.

From 2000 until 2008 I made forty short films, and in the same year I stopped making shorts I also completed my first feature film and solely concentrated on feature production thereafter.

My short films never satisfied me and I always look at them as ideas that are still forming rather than complete theories. However I recall that when I stopped making short films and concentrated entirely on features something changed in me, and this change helped me to re-evaluate my approach and I came to the realisation that I wanted to make feature films for the rest of my career.

In 2011 I initiated Homo Sapiens Project (HSP), which is an on-going series of experimental short video works that practically functions as a breeding-ground and laboratory of experimentation for the sake of my feature films.

Within HSP I wanted to have a very clear policy while working in the structure of the ‘short’ and somehow completely destroy the very notion of ‘short film’. I began by not creating titles for the films, instead only numbering them. Furthermore, the range of works produced so far consist of everything from ‘sketches’ to fully finished and polished films. Also HSP radically challenges the traditional mode of filmmaking whereby the outcome of this classic mode is a single film produced over a long period of time. In the four years since the project began there now exists almost 200 films-making it almost impossible to fully screen them.

I believe that experimentations, trial and errors, tests and scientific research on a film must be fully performed during production and post-production. When it comes to the screenings I believe that my work should be presented in the most traditional fashion, i.e.: in single screen cinemas/theatres.

I love and enjoy video installations, expanded cinema, paracinema, gallery spaces/visual arts venues for the presentation of works and many other ephemeral aspects of cinema, but solely as an audience member- not as a participant. The films that I make are produced in an extremely non-traditional manner; there are no screenplays, there are no storyboards, there are numerous other radical elements and experimentations that I pursue within production and post-production, but when it comes to the screening it is simply a dark room with one screen and a sound system.

My true desire is to present my feature films in cinemas, which most of the time is an extremely difficult reality and on many occasions this has been compromised. People may consider this attitude for a person who is intersected in experimental cinema, to be very dogmatic, opinionated and perhaps naïve. I am very much aware of this fact and I have accepted it. But this persistence, stubbornness and assertiveness was and is the only source of my existence and progression in filmmaking. After all, there are no right or wrong views; everything is subject to interpretation and re-evaluation. I adore this type of filmmaking and this type of film presentation and want to make something very personalised that I can share with my audience. I cannot help it; I want to be in the old cinema theatres all the time, for my own work and for the films I want to watch.