On the technical level the film is a formalist experiment involving ultra high-speed photography. A volleyball game shot at a speed of 1/40th of what is perceived as real-time becomes a boon for viewing the details of fast and emotionally charged human processes. Revealing what Walter Benjamin called the "optical unconscious", the film provides a study of facial expressions, hand gestures, and poses, which, notwithstanding the documentary nature of the material, are reminiscent of Renaissance painting.
This magnificent spectacle of electric image-making, however, is somewhat of a trap for the viewer. Operating in a classical painterly iconography it draws you in, but the emotional tension revealed by the ultra slow motion creates for me an eerie otherworldly feeling of temporal suspension, of a lacuna in time. Far from a simple feast for the eyes, this game reminds me of the majestic view from Douglas Adams' restaurant at the end of the world.
The Shining Will Come Crashing Down
2019, 24 min, 2K video, no sound
Conceived, directed, and edited by
Director of photography
High-speed camera operator
First Assistant Director
Second Assistant Director
Hair And Makeup
Chief Lighting Technician
Production supported by Gazprombank and "Art Finance" LLC, Moscow