Circle Time
Circle Time begins with an anonymous voice detailing a memory pre-birth, not an afterlife, but a ‘before life’. The voice speaks as a maternal figure/ introspective consciousness for the film, guiding the viewer into lessons or cycles of existence discovered through the unfamiliar eyes of two subhuman species. Like a child the two learn to be human by imitating the world around them, entering into stories of love, power and deception. Unable to fully grasp the real world, the characters are suspended in a limbo between reality and fantasy.
Situated somewhere in this reality and the next, Circle Time is as wonderfully fractured and as incoherent as any real event. The viewer enters into delirious landscapes both mental and physical, virtual and tangible, where the mundane everyday - a workingmen’s club, a park, a playground, our own back garden - transform into dreams and scenes of the unknown. Time and space dislocate through a series of powerfully visual narratives that splice images and stories into incoherent pieces, bringing on a sensation of imbricated memory and associations.
Working under the guise of two subhuman species, our bodies feature as both the grotesque visceral and the aestheticized tidy body. With the power of two, we become the separate vehicles for a single consciousness; introversion with extroversion, Yin with Yang, He with She. Dancing between virtual realities and ‘real life’ landscapes, we orchestrate scenes both surreal and familiar to play out. Environments and characters go through rapid transformations, a metamorphosis, which blend time and space, all contributing to a feeling of displacement and belonging. Exploring identity and the construction of self in the virtual and tangible landscapes we live in.
Like many of our films, Circle Time is a work about multiplicities. The video is seen through two lenses, on two seats, with two screens, about two characters, located in two worlds. The film works as a matrix of interchangeable perspectives. Television screens and windows are portals into other worlds as the two ‘aliens’ go through rapid transformations, a metamorphosis, which blend and confuse the role of performer and director. The performers come in and out of performing to the camera, breaking the boundaries of the screen. Reality and fantasy are further tangled as the film dips in and out of constructed narratives and documentary.
Situated somewhere in this reality and the next, Circle Time is as wonderfully fractured and as incoherent as any real event. The viewer enters into delirious landscapes both mental and physical, virtual and tangible, where the mundane everyday - a workingmen’s club, a park, a playground, our own back garden - transform into dreams and scenes of the unknown. Time and space dislocate through a series of powerfully visual narratives that splice images and stories into incoherent pieces, bringing on a sensation of imbricated memory and associations.
Working under the guise of two subhuman species, our bodies feature as both the grotesque visceral and the aestheticized tidy body. With the power of two, we become the separate vehicles for a single consciousness; introversion with extroversion, Yin with Yang, He with She. Dancing between virtual realities and ‘real life’ landscapes, we orchestrate scenes both surreal and familiar to play out. Environments and characters go through rapid transformations, a metamorphosis, which blend time and space, all contributing to a feeling of displacement and belonging. Exploring identity and the construction of self in the virtual and tangible landscapes we live in.
Like many of our films, Circle Time is a work about multiplicities. The video is seen through two lenses, on two seats, with two screens, about two characters, located in two worlds. The film works as a matrix of interchangeable perspectives. Television screens and windows are portals into other worlds as the two ‘aliens’ go through rapid transformations, a metamorphosis, which blend and confuse the role of performer and director. The performers come in and out of performing to the camera, breaking the boundaries of the screen. Reality and fantasy are further tangled as the film dips in and out of constructed narratives and documentary.
Comments 0
Say something