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For his aestheticism that comes greatly off the beaten path, his continuous risk-taking and his experimental way of playing with the raw material of the cinema, the BEST FILM AWARD goes toooooo…. (*drumroll*)….. Only lovers leave to die by Vladimir Kanic. Thank you Montreal Short Film Festival for that spectacularly awesome words and fabulous award!!!


When we were making this film we tried to break all the possible rules until breaking the rules became a rule itself, and then we just embraced chaos and randomness as the essence of our filmmaking expression. And from that point on, chaos emerged as a completely new way of making art and while providing us with unexpected structure, we realized that we’ve discovered a whole new way of making art which we named ‘random generative cinema’.


I used chaos theory as a filmmaking tool and explored how movies can be made by using randomness as their structural language.

I believe that before it’s made, a movie exists in a state of chaos, and is a part of a disordered system. The most usual way of making a piece of art is through a process of creation induced by human actions and organization. However, I really wanted to challenge that practice by seeing if it would be possible to let the movie create itself, and to observe if the principal structure of art could come to life through spontaneous interactions between its chaotic parts. Furthermore, I wanted the process to be ‘analogue’, and be induced through unfolding of random events in a natural physical world, without using computers.

So our team came up with the Secret Box. Actually twelve of them. Every box was set up by a randomly chosen art director, and he had to put a certain amount of objects inside, seal it and not disclose the contents to anyone. The boxes were put in a stash, and I had to randomly choose one and pick it up on a random day.

Since I didn’t know what kind of the film I am about to shoot, its type, structural language and technique were decided randomly, based on the properties of the objects concealed in the box (1-7). I used the objects from the box as follows: confetti gun (1) was fired and the length of its shot in cm decided the length of the film in seconds, while its length in feet decided the number of feet of film stock to be put in a loop and used as the building block of the film. Blank film stock was painted with fake blood (2) and melted candies (3) while peanuts (4) were ground on the film to create texture and film noise. The colours of a piñata (5) were used to determine principal colours in the film. Two dolls (6) were used to determine that dialogues would be incorporated in the film, while a roll of decorative tape (7) was used to establish film stock as a shooting medium due to their mutual visual similarity. One could say that the directors of the film were randomness, chaos and me – they provided the structure, and I created the content by observing their behaviour.


Emily begins perceiving the world as it was made from painted film stock shortly after being injured in an accident. On her way to a hospital, a story of love, death, passion and loss unravels through dialogues of characters surrounding her, each represented with a different pattern of film stock.


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