Sibi Sekar
출생 : 1997-04-29, Chennai, Tamilnadu, India
약력
Sibi Sekar was born on April 29th, 1997 in Tamil Nadu, India. He fell in love with cinema at an early age upon viewing the works of directors such as Luis Buñuel and Sergei Parajanov. Sibi began making experimental films and directed his first short films, “Night Train Light On Track “ and “Teal City,” during his postgraduate years. Sibi has since directed, produced & edited one feature film, and approximately ten short films. His work has been screened at over fifteen festivals across four continents. He recently graduated from Indian Institute of Technology, Madras with a master's degree in Humanities and Social Sciences and is currently working on explorative films that are primarily an ascetic representation of resistance. The thematic dispositions of his films concern the symbolic depiction of being, nothingness and the transcendental space.
Sound Designer
The film explores the spatial dimensions of a being who alternately enters and exits a fragmented world of projections where thoughts, memories and dreams blend into a strange loop of treacherous images. The film explores multiple layers of in-ness such as inclusion, depiction and representation.
Editor
The film explores the spatial dimensions of a being who alternately enters and exits a fragmented world of projections where thoughts, memories and dreams blend into a strange loop of treacherous images. The film explores multiple layers of in-ness such as inclusion, depiction and representation.
Director
The film explores the spatial dimensions of a being who alternately enters and exits a fragmented world of projections where thoughts, memories and dreams blend into a strange loop of treacherous images. The film explores multiple layers of in-ness such as inclusion, depiction and representation.
Director
"With his latest and longest short film, Sibi Sekar proves to be one of the most promising young voices of experimental cinema whose ‘otherness’ is emphasized time and again through both visual ‘trickery’ of deep red obfuscation, and unpredictable soundscapes oscillating irregularly around an inherently filmic dissolution of time, space and ultimately, reality. Guided by Godard’s words, he dares to jump into the void, owing no explanation to us who stand and watch him do it." –Nikola Gocić
Writer
In the State of 'Land Knownable', 'The Building' AKA 'The Center' is the only existing structure. Gaze, a (non)entity recruited by 'The Building', shadows and observes two (human)beings named Regine Olsen and Man Ray. Gaze creates moving image reports to assess their cerebral resistance to spectatorship.
Editor
In the State of 'Land Knownable', 'The Building' AKA 'The Center' is the only existing structure. Gaze, a (non)entity recruited by 'The Building', shadows and observes two (human)beings named Regine Olsen and Man Ray. Gaze creates moving image reports to assess their cerebral resistance to spectatorship.
Director
In the State of 'Land Knownable', 'The Building' AKA 'The Center' is the only existing structure. Gaze, a (non)entity recruited by 'The Building', shadows and observes two (human)beings named Regine Olsen and Man Ray. Gaze creates moving image reports to assess their cerebral resistance to spectatorship.
Director
XX and XY find themselves struggling against oblivion, while an external entity referred to as ‘The Rose’, infringes their identities. The hows and whys are not applicable, although XX and XY claim that ‘The Rose’ distorts their understanding of the roles they've occupied.
Editor
The film explores the syncretic notions, ‘construction’ and ‘intuition’.
Director
The film explores the syncretic notions, ‘construction’ and ‘intuition’.
Editor
The process of un-remembering. A visual representation of scorching memories irreversibly burning.
Director
The process of un-remembering. A visual representation of scorching memories irreversibly burning.
Director
A flight lands in Teal City. A man is trapped in a frame. A wave of verticals hit the city.
Editor
A countdown to non-film. A man humming. An image of a self drowning oneself. Windows.
Writer
A countdown to non-film. A man humming. An image of a self drowning oneself. Windows.
Director
A countdown to non-film. A man humming. An image of a self drowning oneself. Windows.
Editor
The broken gravity tries to keep you on the floor. What is bizarre when dimensions are overleaping? While directions are directionless, What is down is up, and right could be left; Don't mis-step, you'll fall into the portal, After all we don't know if you are entering or exiting.
Director
The broken gravity tries to keep you on the floor. What is bizarre when dimensions are overleaping? While directions are directionless, What is down is up, and right could be left; Don't mis-step, you'll fall into the portal, After all we don't know if you are entering or exiting.
Director
The night train is right on track and the journey is slightly marred by an array of lights.
Editor
The night train is right on track and the journey is slightly marred by an array of lights.
Producer
A desaturated image of Edvard Munch’s painting Der Schrei der Natur (The Scream of Nature) is overlaid with several monochromatic images of landscapes and seascapes. The film uses an original soundtrack employing a discordance between sound and images to explore the incongruity between the auditory and visual sensory modalities. The soundtrack in the film is a constant distraction in terms of visual perception and vice versa, i.e, the images in the film are a constant distraction in terms of auditory perception.
Editor
A desaturated image of Edvard Munch’s painting Der Schrei der Natur (The Scream of Nature) is overlaid with several monochromatic images of landscapes and seascapes. The film uses an original soundtrack employing a discordance between sound and images to explore the incongruity between the auditory and visual sensory modalities. The soundtrack in the film is a constant distraction in terms of visual perception and vice versa, i.e, the images in the film are a constant distraction in terms of auditory perception.
Director
A desaturated image of Edvard Munch’s painting Der Schrei der Natur (The Scream of Nature) is overlaid with several monochromatic images of landscapes and seascapes. The film uses an original soundtrack employing a discordance between sound and images to explore the incongruity between the auditory and visual sensory modalities. The soundtrack in the film is a constant distraction in terms of visual perception and vice versa, i.e, the images in the film are a constant distraction in terms of auditory perception.
Editor
The miniature plant pot, the mother, the son and the dusty ceiling fan. Unmasking is poetry is self .Thoughts Out Of Season is a contemplation of loss and grief as much as it is a search for identity and peace. The film concerns the transformation of an eternally wandering soul and his fragmented understanding of home and motherhood.
Cinematography
The miniature plant pot, the mother, the son and the dusty ceiling fan. Unmasking is poetry is self .Thoughts Out Of Season is a contemplation of loss and grief as much as it is a search for identity and peace. The film concerns the transformation of an eternally wandering soul and his fragmented understanding of home and motherhood.
Director
The miniature plant pot, the mother, the son and the dusty ceiling fan. Unmasking is poetry is self .Thoughts Out Of Season is a contemplation of loss and grief as much as it is a search for identity and peace. The film concerns the transformation of an eternally wandering soul and his fragmented understanding of home and motherhood.
Son
The miniature plant pot, the mother, the son and the dusty ceiling fan. Unmasking is poetry is self .Thoughts Out Of Season is a contemplation of loss and grief as much as it is a search for identity and peace. The film concerns the transformation of an eternally wandering soul and his fragmented understanding of home and motherhood.
