My films are whispers to the soul, interview for Detur La Preciziei

After a superb review on my latest film, #Beings, here, the film critic Maria Mantaluta asked me a few beautiful questions about filmmaking and my work.

M.M.: I’m not sure how well, or even if, our readers know you (even after the review for one of your films, #Beings), so why don’t we start with a short introduction.
P.S.: Amateur filmmaker

M.M.: That was very short indeed, so I’ll just add that Paul Stefanescu is a passionate filmmaker (not sure about the amateur part, but so be it), who’s not only making films (…and other arts) but also hosted film screenings in Bucharestand is a breathing, moving performer. Personally, I always felt that your social media accounts are more like an on going virtual performance. But it’s not me speaking here, so let’s get back to our questions.
What can you tell us about your older projects?
P.S.: #Beings and Sleep-Awake, two “exorcism” films, as someone once described them. 
If that doesn’t make our readers curious, I don’t know what will.

M.M.: How did you start making films? What’s your relationship with film schools?
 P.S.: It’s a bit more complicated. My first encounter with film was in UNATC ( the National University of Theatrical and Cinematographic Arts “Ion Luca Caragiale Bucharest), but it took me like 10 years to find my own direction in film, and in the way of making it, in which to truly believe. Making film is hard, and you need deep beliefs, to be able to “sacrifice” your whole life for a few film scenes. It took me a long time to grasp a meaning of art and to discover what is art in me. And what in me would matter to others. A never ending search for truth.
In what concerns film schools, my only contact was with UNATC, a good place to form a network and to develop a sort of passion for film. Even so, I do not advise anyone willing to learn film to follow a Romanian film school. For us, in Romania,  school seems to be, still, a poetical act.

 M.M.: What do you aim for when you’re making films, what are your expectations? From yourself, from the “final cut”, from the public?
 P.S.: It’s a classical route in art, first, you have a revelation – an understanding of something that is beyond linguistic discourse, especially if you are “a visual creature”. And then, you try to bring what you’ve understood, which is circumstantially dependent on a narrative and dramatic context, to an existential form.
It’s an emotional, intuitive and deep process. Of course, if you choose this creative path. What interests me the most is rediscovering the essences and being aware of them – that’s at the core of my stories.
I try to be totally honest. It’s really hard. And during the making of a film, being honest with your story, with yourself and with the essence you want to depict, all shape a different world. A world that pays for the effort, the pain, and the fight of keeping oneself open to it. And not only to the story, but it’s really important to stay open and true with the people you’re working with, and observe their own way of relating to the story. It’s a magical process. For me. For the people, I work with. For the public.
I, like Claire Denis, wish for the public to watch my films in the most open intimacy. Not collectively in a hall. My films are whispers to the soul. That’s why only a few can accept them, decipher them and connect with them. It’s hard nowadays to be totally open in this world.

 M.M: I know your interest goes beyond film, and covers other visual arts as well, or better said, your interest is in Visual Arts. What place does film have in this scheme?
 P.S.: Film isn’t film anymore for me. It stopped being a label, a definition of an artistic product. Film is simply a medium, like words. Normally, film means a complex process of production and distribution. The rest is art. Continue reading “My films are whispers to the soul, interview for Detur La Preciziei”

Apologia v7 synopsis

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. Continue reading “Apologia v7 synopsis”

Administrative Help for open consciousness

I need someone to help me with some Administrative Help
because I am not good at it at all
I can’t make phone calls, I can’t set meetings and castings, I can’t deal with responses to ads, I can’t keep contact or initiate beautiful hangouts with actors and crew, I can’t look for marketing or PR.
and all of them are so so vital to any filmic endeavor.
I need someone that can understand Art for art sake, someone that is not against gay people and BDSM, someone that understands Performance Art and Zen philosophy.

It is such an immense pain not to be able to do anything because you can not connect.
My helplessness is not fully understood by me. It seems to be a forgotten trauma mixed with my fear of expectation from other and irrational fear of suspicion and misunderstanding.

There are no financial compensations. I don’t make films that would make money. I make films as medicine, as a floating device, as world and meaning to live into. 

Please help me make film.
Misunderstood film
Usless film
Bad, Ugly, Stupid film
Pretentious film
Sincere film
Experience film

I am dead without it.
‘I’ means – all of us, us within the I, the I of this world we try to set free.
‘I’ am one of those that work to open and widen new worlds. Utopias. Places without Evil. Open spaces of open heart of Open soul of open consciousness.


Thank you all that made our projects possible. By remembering your presence in our projects and the things you’ve done, make me so overwhelmed by gratitude and amazement that so many lifes and souls, so many emotions and ideas have lived and united in QualiaFilm’s videos, videos that doesn’t promise you anything precise, nothing useful, nothing to be proud of. And still all of you had something to take away with you from these experiences and that is the most beautiful thing in the world. People that live for life itself and explore it as such a magnificent Jewel it is.
Thank you with all my heart.
Andrei Stefanescu

for our collaborators and participants
see our Thank You page: ——–>

The Winter of Discontent

Pentru ca Linear A este un proiect pentru nopti cu temperatura de peste 20 de grade cred ca o sa il impingem pentru primavara/vara lui 2014.

Pina atunci insa dezvolt alte citeva proiecte bune pentru sezonul rece. Mi-a placut foarte mult furtuna de saptaminile trecute si voi scrie un scenariu despre o fata care se lupta printr-o astfel de vreme sa ajunga la malul unui Lac. Un Lac cu o faleza minunata si o asezare enolitica necunoscuta publicului larg. Asa ca vom astepta o furtuna sau si mai frumos un viscol puternic.

Mai este si un fel de documentar fictiv despre povestile din mintea noastra si cum ne ajuta si ne coordoneaza si structureaza interiorul si exteriorul. Un film care deocamdata se numeste Images of Rape. Mi-am dat seama ca suna foarte similar cu colectia de filme extreme Images of Death si cumva sint asemanatoare ca prezentare si mitologizare a realitatii si intelegere a realului ca o simpla stare de spirit (state of mind).

Si ar mai fi un film despre frica mea cea mai mare, erotismul homosexual, un film care deocamdata se numeste Gay Delights si este atinge fenomenul homo-erotic, nu stiu daca gay, in care barbati apeleaza la alti parbati pentru sex pentru ca este mai usor, mai pornografic si cu siguranta fara nici un sentiment.
Incercind sa gasesc ceva subiecte horror mi-am dat seama ca frica reala simt fata de homo-erotism si fata de intunericul fara limite si fara forma in care se pot naste toate posibilitatile monstrilor interiori datatori de durere. Frica de torutra fizica. Si cumva cele doua se pot insaila foarte interesant.
Sa vedem, inca sintem in stadiul de frustrare a scrierii scenariului, in care scenariul nu vrea de nici un fel sa coteasca asa cum vrei tu. Si un razboi plin de nervi izbucneste intre tine si personajele si lumea din scriitura.

va urma

donez scenarii

Ca regizor nu am posibilitatea sa fac film, asa ca imi donez scenariile oricarui interesat de filme exploitation, low-budget, experimental.
Le donez pentru a putea sa scriu in continuare si pentru a nu mai fi obsedat de ele si de imposibilitatea de a le face.
Si nu numai atit, ci voi participa si cu bani la realizarea lor. In caz ca este nevoie.

Lung Metraj:
Linear A

Scurt Metraj:
Prea Dimineata
Camera Mica
Joi Seara
Vagonul 11

Scrieri din Fără Voie – roman experimental

O carte despre un loc intre un ‘mine’ si ‘minE’ în care există o intreaga lume incă necunoscută. Nimic nu poate fi la întîmplare chiar de asa alegem să fie. Si daca fiecare lucru tinde să aibă un rost, un rost nespus si de multe ori nestiut, acestă carte si ea are un rost, un rost care inca nu are existenta. Este o carte a liniștii isterice. Si fiecare va intelege nu din idei sau din teme, ci din cuvinte si ascunsele lor. Dar această carte nu are un inteles. Este un instrument de către noi-ire.
Si cum nu exisă un personaj coerent in carte si nici o lume narativă pe care să o putem numi si urmari de-a lungul intregii cărti, putem sa luăm ca personaj principal pe ‘unul’, si lumea sa interioară si accidentala…

Scrieri din FărăVoie – roman experimental


01 Contra-materie p1