It is with great pleasure I present you a sneak peek of my newest short film
It is with great joy that I can announce that my newest film Undercurrent is accepted into the London Short Film Festival 2018!
The festival runs from 12th – 21st of January 2018.
We find ourselves uncomfortably close with a dancer on screen. Are we allowed to possess her?
She is oblivious to her spectators until the momentum changes and she becomes aware that she is no longer alone.
On the verge of losing possession of her body she takes control, turning her attention to the camera and the audience behind it. Encroaching on them, like a predator stalking its prey.
A big thank you from Miku and I for everyone who came to see and support
ONES VANISHING POINT!
Thank you Deptford X for having and supporting us.
Thank you Deli X for letting us screen in your wonderful venue.
Miku and I want to thank London Short Film Festival for having our film ONES!
We had a marvelous time with the excellent programming and meeting the talented artists involved.
We also want to thank LSFF and the ICA for nominating us for their award and making us feel so welcome at their wonderful venue.
ONES is jumping straight in to this new year with its third and final part of the triptych currently in development, so please stay tuned and we hope to invite you soon!
From the start of this project Miku and I have said that it would be an experiment, where we would discover what happens if you give two collaborators from two different disciplines the same material, which has been created together, to edit an individual film of the exact same length, using the exact same soundtrack.
Since we are each editing at the moment from individual perspectives without communicating about the process, we are bound to have two very different films that will come together through location, sound, style and performance.
Miku is a choreographer who explores the space with her whole body, merging it in to the environment. As a visual artist, I explore the space through a camera lens and frame, putting my body outside of the environment to let my eyes make a composition of the different elements within it. Therefore, our methods of exploring the various locations will have been different and thus it will affect our editing processes.
This by far is the most fascinating and thrilling part of the project so far, because we can’t predict the exact outcome. I’m very excited to see the differences and similarities between how Miku and I see, think and explore when we are not creating together in person.
Photo by © ANNE• 2015
Over the last weeks Miku and I have been in conversation with our composers Cassie Kinoshi and Jack Goodwin to come to three separate soundtracks. Both composers have very different styles and backgrounds, which makes for an intriguing input for our editing process. At the beginning of April they received our selected sounds, film stills and impressions. From there they each took the sounds to a new level where the sounds were stretched, distorted and shaped into a rhythmic soundtrack.
Since their soundscapes are simultaneously our timelines in order for Miku and I to edit our films to independently, it will be a real experiment to see how their work influences our editing process.
Miku and I are now in the process of choosing specific footage from each location to start this editing process. The aim for us is to both have the same footage to edit with, but not to communicate on how we are going to edit it before or while we are editing.
The planning was to start this process back in April, but due to serious computer malfunction we had to postpone this process to June.
We will keep you posted on this exciting project of which we are planning a showing of work in progress in the beginning of July!
Most exciting news!
We have started to collaborate with two amazing composers to take our recorded sounds to the next level: a soundtrack.
Sound designer Jack Goodwin (Teokorus) has agreed to create the soundtrack for our first location.