So it Goes

I have glanced into the darkness behind the snow covered trees. It looked like a hound from the Boston Dynamics, but that's not important now, there are soldiers trying to hunt me down and cameras in the trees. Something's wrong. The shit hit the fan. Is this the '45? I remember the bombing of Dresden, calcimine showers from the ceiling. Explosions sounded like footsteps of giants. Drones were circling above the smoking rubble. When did this actually happened? Does it even matter? Polygons and textures of the reality are collapsing, I'm falling down through layers of memories of the future. 

Why me?

There is no why. Reality is a tesseract, glass sphere of the fishtank filled with unconnected moments of non-linear time. I'm waiting for "them", to abduct me into the domain of the dark monolithic structures. 

That moment is certainly coming.

How would the post-modernist literature look like, if it was infused with 3D Animation, post-internet decontruction, clouds of electronics and yesterday news? How much plug-ins can handle the humanistic idea of the absurdity of war, fatalism of death and apparent homogenity of space-time? We ressurect our heroes to find out if they can succeed once again. We ressurect them to take us, just like Vergilius, through our most recent version of the hell.

More than three years of development only for these few impulses, searching for neural connections in between the pages. The end result? 18 minute peek through the eyes of unexpected war hero, captivated inside a never ending paradigm shift.

Beyond the poetic and narrative side of the film lies an enormous burden of technology and RnD. Designing the production to resemble the traditional way of creating art was challenge on its own. From a purely technical perspective, this process was a homage to proceduralism, modular way of thinking within the realms of visuals and audio. Ever since the early consultations with my academic mentors, I knew, that in order to break free from the rigid contraints of modern technology, I will have to invest an enormous amount of energy to modify it, so it won't be a limiting factor.

Whole film was done using Houdini, Redshift, Deadline, Resolve, Ableton and Nuendo, self built modular synthesizers, hardware musical instruments and tons of custom made python scripts, tools and experimental workflows, that allowed me to focus on the phenomenological essences, rather then just going with the flow of the tech. 

Credits:

Direction/Production/Concept Art: Martin Nabelek

3D Modeling: Jozef Dolinak

Script/Story: MN, EK, JM

Music by FYI

Thank you for stopping by. Film is currently in the last stage of production, missing rendered shots here and there, and audio is being re-mixed for proper cinematic quality. If you are still curious, here's a short teaser trailer: