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 reminiscent of classical painterly iconography.
A mundane event deconstructed reveals symbolic dimensions inherited from ancient ballgames (e.g. Mesoamerican ballgame) where ritual and social practice intertwined. The impossible perspective of the ultra slow motion camera creates an eerie temporal mutation where time itself becomes dense and palpable taking an almost monumental quality.
At the same time, the video is a meditation on the power of technology to augment human senses and create new sensibilities. The slow and relentless pace is intended to draw attention to the medium's very mechanisms of operation and make one aware of the iron hand of technology at work behind the process of viewing.
The Shining Will Come Crashing Down
2020, 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