Just to write it here as well
With #Beings we were accepted to four festivals until now.
Hong Kong Arthouse Film Festival
Straight-Jacket Guerrilla Film Festival
Venice Film Week
Martinique Film Festival
Just to write it here as well
With #Beings we were accepted to four festivals until now.
Hong Kong Arthouse Film Festival
Straight-Jacket Guerrilla Film Festival
Venice Film Week
Martinique Film Festival
It all starts by looking down in deep waters and we see the title shining on the murky water. All of a sudden a white figure comes towards, us, towards the surface and comes out of the water. It is Jake. He swims to the shore where Gamma a little skinny girl is waiting. Jake comes out of the water but has no contact with Gamma, is like they are both unknown to eachother. And then we see trees moving in the wind, and big water flowing, and clouds and fog moving. In a dark room Otte is washing her paralyzed mother Imola. Near the bed on a simple chair there is the Professor, the confessor and adviser of Otte. The professor talks with Otte about living alone, and why it is impossible form Ottes body and mind. She wants to lose herself into another.
In the same night, in another part of town, Jake is working on 3 big monitors, at his research desk. Looking for something, trying to entangle an immense theoretical and scientific discovery. He thinks, he is bored, He works with passion. He lies on the floor. He throws papers away. In a dark corner of the room very quietly is Gamma. She ask Jake about why is she there, and they talk about the difference between object and vibrant presence. About a third existence.
Jake is sleeping and a computer message is waking him up and scares him. It is his friend Phil, also a scientist, that confirms him that his findings about a Global Magnetic Shift and thus physical laws in continuous change are correct. Phil invites Jake to come to their lab and work on it. Phil also confirms that the Shift is changing people’s behaviors and makes them weirder and more violent. Jake responds that he needs to save someone first, then he will go to them.
Jake goes to Otte’s home where she very hardly lets him in. She thought he was dead. She was just preparing herself something very raw and bloody thing to eat. He doesn’t want. They talk about their love for each other and how they keep it hidden. And how each one wants to become the other. Jake is let to stay only for one night. Otte calls the Professor and tells him that Jake is back. They make love. And while they have sex, Jake sees in her a sort of Trance that transforms her in a kind of Oracle. She speaks in a weird language for such a brief moment.
Next day, Otte is away with work and two Priests knock at the door. Jake naked sees them and to defy them opens the door to them. As the Priests its the Professor and Gamma. Jake doesn’t know either one of them. They talk about their new religion and the fact that they know about the Twisting of the Spirit of the World and that is why they will leave soon. Jake appreciates at them the complete passivity in front of death, he plays with a knife at the neck of one of them, and the fact that their discipline showed them what he found through science.
After they leave, Jake sees Imola’s room and enters. He looks at her and softly touches her. It all becomes an almost erotic touch of him with the paralyzed lady. He caresses her neck her face, her breasts and under the cover to her genitals. he kisses her skin, her cheek, her forehead. There is an almost spiritual communion between them. Her mouth slightly opens. But her eyes keep open and frozen.
We see masses of birds and insects, masses of animals moving together in nature as smoke, as fluids, changing and revolving.
Otte comes back from work, she is exhausted. The world is going crazy, people fought in the metro. She tells Jake not to leave, because he is giving her so much peace. She tells him that they should leave. But there is nowhere to go. Jake tells her that he is sure something will happen. some enormous change will happen and they will travel without moving. She tells him he is crazy. And they again make love. And again Jake sees in her something weird during sex. A great transformation in her in her ecstatic moments. Like an out of body experience but in reverse. Like an implosion off all and a clearing of all in her body and face. Something real.
Next day at her work the Professor is there. He takes a coffee. And invites her to come with him. She can’t. He cuts his right side of the throat. Blood spills everywhere. Otte keeps on asking panicked, why why why? I feel like it says very peacefully the Professor/Priest. Imola is not in her bed. Otte kneels beside the blooding Professor as she were in her Oracle trance.
She is now back home. Jake looks at her how she has become someone else. She acts as an Oracle as the Professor maybe. She tells him how she felt like braking through herself and how now she feels different. And how she wants to help him. Because that is the real reason she sees in him, for him being there. Not love for her, but salvation for him.
And we see masses of people moving, stumbling all over each other. Riots, panic, natural disaster.
Imola come out of abandoned concrete enormous toxic pool. Outside it there is Gamma. Imola doesn’t remember anything about herself, she is not hungry, she feels as she was flying all the way here. She speaks of eating nectar from the top of your mouth. Eating love. Gamma wants to know how it is that possible, she wants to do it as well. Imola enters her body through her foot sole and they go into another world where step by step Gamma is reduced to nothing.
At Gamma’s home. Imola is still absent as being away from her world. Like disconnected from her world. They drink their morning coffee. She tells Imola her dream. But Imola is not listening. Gamma asks if she could undress Imola today.
Otte appears to Imola and she frightens. Otte begins talking to Imola and Gamma even if she is the same room hears nothing, sees nothing. Is like Imola and Otte are in another world. Otte cuts Imola’s clothes while Gamma asks Imola about her memories, about her first memories in the world. Imola first speaks of nothing and black, then of an accident when she was 5 years old and all the boat she was on sunk with dozens of people.
After getting all naked Imola enters a trance where she is with Otte outside life – are we alive,no not yet. And then suddenly.
A pink and white beautiful and voluptuous Atomic Bomb goes off. The total war begins. But in beauty and silence. There is nothing violent about this Apocalypse.
Otte and Imola, outside all reality are alone in a beautiful forest where they have an imaginary picnic. They talk about the innocence of peasant girls and the fear of man’s penetration. Them two build a small fire and they play with it.
We see skin and details of one body movement. Inside human. Micro human.
Until it becomes a white body choreography in an empty white space, something like an abandoned building. Something without a recognizing shape, neither nature neither human. Ruins of an old mind.
Her dance creates, and step by step we see from above how a white darkness transforms from nothingness back again into form and nature and living matter. And we enter a city on a mountain where at a terrace Jake and Gamma order. Jake for the first time is hungry. They talk about that the world never dies. It only revives itself. No matter what. No matter what.
A breathtaking review by Morgan Shnier
The 2015 film #Beings, Andrei Stefanescu’s second feature, is a partially experimental, partially narrative cinematic reflection on guilt, beauty, and obligation. The film tells the story of Eva (Doro Höhn), her estranged lover Teo (Catalin Jugravu), and their mutual friend Ana (Andrea Christina Furrer) who attempts to support the two as each falls into madness and melancholy. After Eva suffers a seizure, Teo kicks her out in a rage. Despite Eva’s efforts, they fail to reconcile, and Eva breaks down over the imperfections she sees in herself, imperfections that she believes prevent Teo from loving her. At the same time, Teo begins to mentally and physically break down. Ana, stretched between her friendship with Eva and her own love for Teo, attempts to help both of them, but is unsuccessful. Eva, wanting to escape her own skin, instead escapes from city life, at least for a moment, by lighting out alone into a decaying industrial wasteland, facing west toward the setting sun.
The film’s lead actors play their roles admirably. In particular, Höhn effectively and realistically portrays Eva’s anguish. Furrer should also be lauded for the subtleties of her performance. With subtle gazes and facial tics, she elegantly portrays Ana’s own suffering and anxiety.
Aesthetically, #Beings is perhaps at its best when Stefanescu allows the camera to linger upon his characters’ bodies. In carefully framed close-ups and medium shots throughout the film, Stefanescu traces the strange topographies of the everyday human body, treating the body as something observable yet unknowable. Early self-reflexive shots in the film’s opening scene subdivide actor Piotr Bockowski’s body like a series of anatomical diagrams. In contrast, certain shots of Teo in the film’s second half are almost painterly, with one sequence in particular heavily evocative of Jacques-Louis David’s La Mort de Marat.
Likewise, the film’s closing sequences in Teufelsberg are a practice in post-modern sublimity. While Stefanescu generally avoids traditional compositional structures in #Beings, these final shots have a classical, almost pastoral sensibility, with Eva bracketed on both sides by the derelict radar domes of the location’s former NSA listening station. This lends the scene an air of decay and suspicion entirely appropriate to Eva’s own feelings toward her own body.
However, #Beings is not without its faults. Stefanescu tends toward long shot durations that give the film a rather slow, halting rhythm that does not always jibe with the plot. Likewise, Stefanescu’s micro-budget aesthetic at times detracts from the film’s effectiveness. For instance, his handheld camerawork tends to give even calm, contemplative sequences a rather frenzied air. These scenes would have certainly benefited from a tripod or steadicam.
The film’s sound also has its issues. In most scenes, one can hear the distracting hum of an air conditioner or running water. The soundtrack to #Beings is a series of haunting industrial grinding tones that give an appropriate sense of paranoiac dread but, unfortunately, Stefanescu includes this track in scenes in which it is unnecessary, often drowning out or diluting the effect of the film’s dialogue.
That being said, the film’s beautiful aesthetics more than overcome these relatively minor foibles. #Beings, an excellent sophomore outing for Stefanescu, should not be passed up.
Our second review comes from another poet, his name is Jimmy Lo. It is so wonderful to find that the film you made is just seen by the wrong people. It is so amazing to see how value is nothing more than a collective, group characteristic, and has nothing to do with an universal outlook on life and living.
Giving the film to Jimmy to see and review, it was so wonderful to receive such a great feedback with a real passionate perception of it. It is amazing to see the open heart and mind of a person of which the entire life is build around keeping and opening his eyes more and more wider wider around the mystery of our life.
Thank you soo soo much Jimmy. You can find more about him on his blog, http://iloveyousomething.com/ or twitter https://twitter.com/jimmylorunning
This slow building film explores the strange relationship between three people, as well as their relationship to the spiritual. I found myself pulled into an enveloping mood of inner torture. There is a secret horror film brooding in the background here, thanks to some mysterious characters and an excellent soundtrack, which even includes howling dogs at one point. This creates an interesting cognitive disconnect, as the movie isn’t really a horror film in the conventional sense of the genre, but one about the horrors of being in the world, with other beings.
I really loved the slow pacing of the movie, as it was perfect for the type of questions being asked by the film. The camera lingers on the three main characters just long enough to be uncomfortable, then it lingers even longer. This is very much a movie about deep watching, even meditation. I found myself glued to every tiny movement, every twitch, look, and expression on the character’s faces for clues into their relationship. The long pauses and silences were very effective at bringing this about, and told more than dialogue would have.
I watched this movie as a poem, a poetic exploration of the irrational forces that drive us, and as such it was very powerful. However, I wish there was more of a balance or contrast in tone. I longed for something pedestrian or inconsequentially human as relief from the heaviness. In a way, its strength may also be its weakness. The movie seemed to have established a mood a little too well, and without any lighter moments, it became one extended musical note, getting more and more intense until the end.
I was quite surprised to find out that this movie had no budget, since it looks and sounds fantastic, and is very well acted. The last scene in particular is gorgeous.
I’ve asked Jim if he would have time to see and review our film. He was kind enough to do it and wrote us an wonderful review of the film. Thank you so much.
Jim Erasmus Lime Templeton is an award winning performance poet & writer. He has worked for the BBC, Cambridge University, Hollywood film studios and performed at venues all over the world.
An intimate, voyeuristic and claustrophobic portrayal of the relationship between an epileptic girl, Eva and her boyfriend Teo. After Eva has a seizure in their apartment, Teo throws her out and turns to Eva’s best friend Anna. This event triggers a journey of escape into nothingness for all the characters, some emotionally, some literally.
This is not a film that exists only as a straightforward narrative, it’s a poetic exploration of Eva’s need to escape and her boyfriends guilt and impotent love. #BEINGS says as much in it’s pregnant silences and throbbing soundtrack as it does with it’s naturalistic dialogue. It leaves you to fill in the meaning between the frames, using lingering static shots and pauses to full effect throughout.
You can feel the difficulty the characters have in connecting with each other, as they stumble emotionally and drift around the edges of each moment. One scene where Teo and Eva tentatively begin to kiss in silence has a real power, they take so long to move in, you hesitate with them, the visceral anticipation is agonizing in places. Rather than stuttering your involvement, the pace of the film draws you in, like still waters can transfix you with their beauty, the woven thoughtfulness of each scene is mesmerizing and ambiguous enough to allow the viewer to reach their own interpretation of Eva’s odyssey.
Ultimately #BEINGS is a rewarding watch, full of subtleties, surprises and layers you won’t find in mainstream blockbusters. Solid performances from all the leads help draw you into Eva’s journey. A film to watch with others and discuss afterwards, #BEINGS will stay with you.
I was born lucky.
When I was a child there was nothing ugly in the world.
But with time I learned about beauty and all went wrong.
Beauty is a tirany
Life is a full time job.
And you can’t take any day off.
Be careful what you create
For surely people will use it to do wrong.
[thinking about american fast action and TV editing]
I am more and more convinced that the outer shell is made out of anger fibers. It is not possible otherwise.
Even humor is anger based.
If you think about it is sooo soo strange that God spoke words to people. That He used language. That he needed to influence directly the frail human consciousness.
Is weird because of God gave all things genes smile emoticon and we can see that people, most of us, live without consciousness but more with a raw inventivity.
So for God to send laws and emotional advice is wayyy to weird.
Is like in the movies 1 hero and 99 weirdos.
All wanting to be heroes.
Thinking about actors and their lust for heroism. I love those that know the percentages.
Does anyone knows some infos about alternative indie film distribution word wide?
On a micro to no budget?
Thank you soo soo much.
Any little lead would be amaziing.
The universal language of story is Life Threat. Read more… »
Apologia becomes more and more a multidimensional multi temporal multi existential story, about a mystical togetherness that is somehow broken and people have broken pieces in one another, and continuities and they remember themselves in others and become another and find being caught in changed times and bodies and minds.
Recently I have found out #Apologia to be an #existentialist project.
*a sense of disorientation and confusion in the face of an apparently meaningless or absurd world
*existence precedes essence
*man first of all exists, encounters himself, surges up in the world—and defines himself afterwards
*rationality as a mechanism humans use to counter their existential anxiety
Daca aveti ceva de luat de la F64, emag sau flanco si vreti sa ma ajutati si pe mine pentru ceva fonduri de film pentru proiectul Apologia, va rog mult sa o faceti printr-unul dintre linkurile mele de afiliat.
Este un program prin care se vireaza un mic procent daca cumperi prin linkul meu. Nu adauga nimic la pretul produsului.
F64 – prima alegere intotdeauna cind cauti ceva complet aiurea pentru foto si video si speri ca acolo sa aiba. Si locul unde e omor de BlackFriday cind mi-am luat si eu o lampa led
EMAG – pentru tot felul de alte electronice (mobile?)
FLANCO – habar n-am, pentru ca e Flanco
PCMADD – un mic magazin de calculatoare de la ca mi-am mai luat eu chestii, ma bucur ca a intrat intr-un programul de afiliere, i-am gasit si pe okazii, cred ca printre primele magazine care au intrat in zona asta
This is our first script form the series Apologia.
and the second
Cursul nostru nu este un curs clasic de actori, este format ca o pregatire normala pentru un film.
Veti trece prin exercitii care ajuta un om cu o viata cotidiana sa reuseasca sa se desprinda din modul lui normal de a actiona, inspre lumea personajului si lumea interioara a unui actor pe partea de video, asa cum percepe un actor lumea si cum reauseste sa existe in doua lumi deodata.
Actoria in teatru film fotografie si performance a venit in om ca o nevoie primara de a-si exprima toate partile lui, parti care nu pot fi exteriorizate in mod normal in viata lui de zi cu zi.
De aceea s-a creat acest spatiu special, numit arta dramatica, unde orice om poate sa intre ca intr-un spatiu interior unde are voie sa isi regaseasca personajele sale interioare.
Fiecare dintre noi avem o colectie interna de arhetipuri si ‘fiinte’ cu nevoi, nevoi de a exista.
La acest curs Qualiafilm Acting Sessions vom experimenta intrarea in acest spatiu, spatiu pentru film, spatiu delimitat cu camera de filmat. Si vom descoperi impreuna straturile si dorintele interioare.
Actoria este un mod de a trai. De a trai mai plin si adevarat mai complet. De a ne descoperi, de a ne intelege si de a ne accepta. Si cel mai important de a ne putea asuma propria noastra adevarata si depina fiinta.
Primul pas va fi un casting, ca la orice film unde vom afla impreuna ce ne dorim sa facem la acest curs, care este directia explorarii noastre.
Apoi vom face exercitii de cunoastere cu micul grup in care vom lucra.
Si treptat in functie de fiecare din grup vom dezvolta cu exercitii si situatii de dans, text, miscare, emotie, relatie pentru a reusi sa atingem verosimiliatea pentru ceilalti si pentru sine.
Cursurile noastre au la baza contemplativitatea si deschiderea vederii asupra momentului prezent acut si infinit schimbator.
Pretul va fi undeva in jurul a 30 de lei pe curs, primele de 2 ore lungime. Apoi treptat ajungind la 4, 5, 6 ore in functie de program.
Now for everybody out there that wanted to see what I do in filmmaking today I’ve made a small showreel that recaps some of the films and videos I’ve made since 2008.
Thank you all soo soo much for all your help, belief and sacrifice for these films to be made and screened in Romania and all over the world. Thank you my amazing romanian and german crews, thank you sooo soo much you amazing souls that you are dear dear actors, thank you beautiful reviewers, critics and viewers from all over the world that opened your souls and minds and feelings in front of these little films.
It was and it still is an amazing journey in film and I am the luckiest human to have met you and shared with you at least a small part of real and direct soul.
Thank you soo soo much to all.
And lets keep telling stories about our amazing sacred human experience.
Image is mirror, what we feel and see in it shows us more than the ones in the mirror.
Image/story is an intuitive language that can empathize with others outside ideas. Outside concepts, languages.
My films are about the difficult process that we need to undergo so that we can come back to life, or to understand it. Not to enjoy it, not to be happy, but just merely to experience it. Happiness has nothing to do with Truth, with direct touch of life.
So no Beauty. But as much truth and wake up moments as possible. As much angles feelings reactions and objects upon reality so that our all being can transcend it even for a very brief moment.
The reel contains pieces from the films
No Man’s Land
Sleep Awake 2012
I just had a dejavu with Ana P about the necessity of objectivisation. And also about the dilema about why people vilified it.
Objectification is one of the original TMs of human race.
I used to talk alone. Now it got to be an online talking. A video talking. Sometimes through others but is still talking alone. Talking for the pleasure of the idea and the act itself of talking. Of uttering in a belived reality something of you inner most.
I still believe that we have two outsides one in reality and another in interiority.
I guess it is a circle somehow.
Civilisation is the product of OCD obsessions in people.
For the rest of us there is only freedom and existence.
Poverty, insecurity and lack of soap.
Sub orice critica,
that is the place I want to be.
We use soap in our desperate desire to become humans.
Our life project is to be recognized and legalized as humans.
I’ve never met a true artist.
I am living in fake and mediocre.
Is all I know, all I feel all that concerns me.
Read more… »
People can’t believe in a religion with all their heart, can’t respect a system of law and order, can’t trust their own pleasures and fears, because all that they believe in is the all powerful deep and unconscious Gene – that is why in anthropology there is an oral unknown all powerful law, called the law of the land.
#Genes are out most intimate guides and friends. They are our God and wisdom and truth. They are the only one we should trust.
Consciousness is too young in comparison. Is too wild and puerile. Gene’s Way is the Tao.
Consciousness will never be able to rewrite the Genetic code. It can only Scramble it, a bit. All modifications end in Death.
Genes self protection. They order suicide when they feel a strange force conquering their perfection.
Genes never experiment, never try things, they are all knowing all controlling, all perfect.
These days consciousness is their main enemy. Our lives are all developing in the middle of this total war.
Genes vs Consciousness.
Old vs Young.
Known vs Unknown.
In November 2014 Andrei and I were working on #Beings together. I played Eva and here are some words about this experience:
I didn´t know Andrei and his work but I was very interested, when I first read about the idea of this movie.
On friday night, he sent me the script.
On Saturday I spent the day thinking about it – as there were a lot of aspects that made me face some of my biggest fears …
Saturday night, I suddenly had the feeling that it was right to give it a try.
On Sunday we met for the first time.
On Monday I met the cast and crew.
On Tuesday we started filming.
For someone like me, this was more than quick.
Well, I like long preparations. I like safety – or always considered myself being someone that likes safety and is in love with clear structures (as boring as it may sound).
So doing this movie was an adventure to me. But during the whole process, it just felt right and I enjoyed this adventure very much.
The relationship between actor and director is a very fragile one and in my opinionl, if it doesn´t work, everything feels like fighting alone for a lost case. You lose connection to your character, your partner and the story because you are busy protecting and defending yourself.
So I appreciate Andrei´s natural talent of working with actors. He created an atmosphere of security and trust. By putting trust in me, I was able to take some risks and to cross some borders, I had built up for myself some time ago. I always felt safe, so I wanted to jump …
There was always enough time to get in touch with your character, to try, to fail and to try again. I personally enjoy this kind of working the most because this makes me feel like part of the story, not like an accessory put in the right place. Andrei’s way of filming and using the camera may be different, but to me it makes sense. We did a lot of intimate moments and I was able to forget about the camera very easily. It felt more like a partner than an observer.
As we only had a small team and almost no financial support – everyone was asked to put their energy and belief in this project. It was cold, it was dark, it was confusing and we got lost … but I loved every second with you guys – in the car, on the road and in the forest, discovering lost buildings and hidden emotions.
I do believe in Andrei and his way of filmmaking. He is not afraid to ask questions and to discover and show what lies underneath common aesthetics. It would be great to find people to work with. People who support us and our ideas.
I´m looking forward to work with Andrei and this team again and I´m excited about what kind of adventure comes next!
Let´s rock –
Nature kills itself.
We are part of nature.
And we cant talk to her, there is no one there to understand why she does it.
It is in our nature – and these days our nature is wrong – and we dint know why.
Nature is a dieing suferind. All we can do is try and understand why.
Nature got suicidal. It invented humankind.