Art Direction
Director of Photography
Editor
Fedor é um jovem serralheiro na obscuridade do Ártico Russo. Cliente após cliente, ele perambula pelos becos de concreto, animado por uma fantasia que o isola da cidade e de sua população.
Director
'Whose Cheek Is This?' is a short experimental film larded with documentary and autobiographical elements, in the absence of lies. A love triangle between Eleonore Van Godtsenhoven (27), Stine Sampers (24) and Ezra Fieremans (23). On the projection of images and ideas – the shifting of personal borders – the representation of a past – colour, innocence, love, and sex. And everybody thought that Eleonore was innocent…
Director
Documentary containing fictional elements. On love between a young woman (Sophia Bauer, 22) and a young filmmaker (Charles Dhondt, 22), bound together through several staged thoughts, events and actions. The film as a sexual and emotional awakening.
Sound
Somewhere between the 1930s and now, the cameras start turning and Joan Crawford, Bette Davis and Marlene Dietrich gather on one film set. The floor gleams, the spotlights are burning, the narration starts. Born out of a fascination for the construction that is Hollywood, and by extension ‘the perfect Hollywood home’, the maker embodies three actresses from Hollywood’s golden era and their so-called private lives. Their smallest personality traits are performed so precise and characteristically that it becomes artificial. The home isn’t homely. It plays “house” and the inhabitants are speaking Hollywoodian. In this setting, the maker of the film recalls memories of growing up in her childhood home.
Assistant Director of Photography
Somewhere between the 1930s and now, the cameras start turning and Joan Crawford, Bette Davis and Marlene Dietrich gather on one film set. The floor gleams, the spotlights are burning, the narration starts. Born out of a fascination for the construction that is Hollywood, and by extension ‘the perfect Hollywood home’, the maker embodies three actresses from Hollywood’s golden era and their so-called private lives. Their smallest personality traits are performed so precise and characteristically that it becomes artificial. The home isn’t homely. It plays “house” and the inhabitants are speaking Hollywoodian. In this setting, the maker of the film recalls memories of growing up in her childhood home.
