Rouzbeh Rashidi · Homo Sapiens Project
As part of the Homo Sapiens Project · comprising instalments 131–140
The Installments
An orator raises his finger in sepia, doubled by his own ghost mid-proclamation.
A small screen fastens itself over a woman’s profile, broadcasting the silhouette she keeps inside.
A pink-haired passenger by the train window, her stillness travelling faster than the landscape.
Three men pose formally in a garden while a blank yellow transmission hovers where a portrait should be.
Lightbulbs framed within frames within frames — illumination studying its own bureaucracy.
A bespectacled face leans close in sepia grain, asking the lens a question it cannot return.
A figure lies mid-dissolve on green, either fallen into the grass or being issued from it.
A face surfaces in darkness with hollowed eyes, smiling the way night-vision smiles.
An album spread: watching faces at the margins, and at the centre a framed foot with lacquered nails.
A bearded man in a long coat holds the corner of a fog-bound yard, doorman to nothing.
Synopsis
since 2000. While this unique approach to filmmaking initially developed unconsciously without a full understanding of the project’s scope, it took him over a decade to truly define and name the Homo Sapiens Project. The prime examples of this philosophy are HSP (200) and HSP (201). HSP (200) was started in 2000 as a work in progress and completed in 2020, with a duration of 490 minutes. Similarly, HSP (201) began in 2002 and finished in 2021, lasting 1150 minutes. These films represent a constant quest for equilibrium and connotation.
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Director’s Statement
Information to be added later.
Credits
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