truth lost in the process

Is traditional way of life connected with meaning and life only through responsibility, through the burden of desires, through the instinct of becoming apart of the norm? Does it have a deeper meaning? A connection with the soul or is just fake? A fake violently painted in righteousness.
I find so many arguments that proves me it is Fake.
But something tells me there is something there original truthful but lost in the process.

I am so afraid knowing that so easy one can create self sustainable worlds. Disconnected from the deep, from the soul, from the breath. From the magic.

#BEINGS - trailer



#Beings - stills from the movie





Finish shooting #Beings



We finished shooting #Beings, it was an amazing extreme experience, every day on the verge of not making it at all. The people involved are magical people, every day of our almost 12 day of shooting I was amazed by their love and support of this project. Every day we had amazing luck and miracles wthouth which this project wouldn't have been possible.
It seems that the miracle of the film poured outside into the world transforming it so that we can walk through.
Catalin Jugravu, Andeea Furrer, Doro Hohn, Elder Roche, Mario Janad, Jehona Jahaj, Piotr, Emma, Ralf, Ofir, Loni, and this amazing surreal place called Berlin, are all alchemical elements in creating #Beings.

From he beginning I wanted to be a magical film, and I tried not to just make it. But to find the place and time and people for it to fly. To break through the sky into another kind of reality. Outside reality. And it did. This film project proves that magic is all around us. And that we live in a continuous miracle. And that all we have to do is to search for it. Is not reason, not logic, but miracle. Amazing all inspiring surprising and ecstatic miracle.

This is my second film and the second time all this crazy amazing things connect and happen and wake us up and bring to us the bewildering fabric of reality.

Vietati - graphic story


This is the first and only page out of the Graphic Story called BEINGS (Vietati). An abandoned project started in 2013.

Titles

TITLES:

Ecuation
Afonal
The New Help
Junkies act like People
Fix no Cure
No moving parts - thinking about the tape, vinil, cassete, cd - now the sd cards - tehnology changes thinking, ch philosophy
Normative (roles the World)
Sfincter
Mistical intuition of scientific truth
brain areas/function
Morphic fields
Murdered sounds
No days no months no years
24 degrees celsius
People are toys
Intelectual fallacy

Only the recorded life is fufilling
(real) - bidemnsional reality
Humanist concuktion
Surface level
1,1,1,1...
The 3rd chapter
Life is electronic
person and Place
Character and action
Fear made me selfish
I like pink foods
Carcasse mentaal
Erotic contact
After effect
I am not one of you
Anal chamber
Fixed matrix of spheres

Izometric - care pastreaza distanta a doua puncte oarecare - contractie a unui muschi fara ca acesta sa se poata scurta, raminind la aceeasi lungime
Have a break
I am not one of you
Safety sucks
I wanna be a sitting duck
The body manipulates the mind
Falling of the table
HumanNotHuman
Evlavie
Mirean
Manufactred
The Cheruvim robot in Eden
Infundat in gind
Pain is consequence
Erata
The un-reality of real life
Un tuned society
Anxiety events
Don't be afraid of the ugly
My brain is not active
Unificarea creierului mama
Art as pet
Last noun

Xxx Safety sucks - used

Vietati - cinema du corp - artwork


On the bed - artwork for VIETATI


VIETATI - DIY film project - post-cinema


Pregatim un alt film no-budget.


A contemplative film where after a stroke, Eva crosses Life as crossing the Bardos towards rebirth, in another story exploring the inexistence of Death.



4 personaje in deep muted suffering. 4 personaje cu sufletul deschis in fata greselilor si abuzurilor bunatatii si dragostei celorlalti.

VIETATI - a film about holding on so painfully on that little thing that makes us human.

Un film despre o fata care care atinge limita existentei ei, o fata care se crede moarta, care trece prin Bardo. In acelasi timp este o calatorie printr-o relatie complicata despre cautarea unui inteles al dragostei, after the damage has already been made.

"Eva s-a trezit dar nu a deschis ochii inca.  Asculta linistea din camera si de afara. Simte ca este prea dimineata dar nu mai poate sa doarma. O oboseala calda ii deschide ochii mari si frumosi, numai pe jumatate. Viseaza si este treaza. Isi simte gura incarcata cu un miros greu. Ochii plini de puchi si pielea matuita. Nu ii place de loc de ea. Vrea sa se ridice si sa se duca sa se spele – sa invie. Dar este bine in pat sub patura calda si pozitia ei este asa de comoda... Patul se misca. Teo se ridica incet. Este frig."

post-cinema
cinema du corp
non-drama 
.

the Better World

All the good people want to make this world a better place. More beautiful and hopefully happier.
But let us supose all the world has became beautiful. What now?
How would the people think, feel, desire? What kind of people would be?
Would the people see all as beauty. Or would a sort of general beauty be posible for all?
A post-human world.
.

Post-Cinema is the cinema we do

Post-Cinema

naturalistic
non-drama
international in setting, culture, social
meta in purpose
focused on inner experience and turmoil
immersive
moody
small

It is another kind of performance, another kind of looking at a moving image. It is an image. The actor plays himself as acute and deep as he can. The characters have open hearts and vulnerable souls. It is not what they do but what they feel. Is the story of a feeling.
Is narrative art that explores feelings in emotional form. Is not about behavior anymore. Is about the extension and expression of special feelings.
No more Love and Dread. Our inner universe is so much more than that.
Is not action, is only emotion.
The spectator is involved is not only shown something. He has to figure things out. He has to make his own mind.
There is no ending, no conclusion. All stories are open. For our lives are always open. Always surprising.
Is another kind of outlook on life.

PostCinema is the cinema we do.
.

Sport vs Art

Sport is not Art
never look at Art with the expectations of Sport
Art is sacrifice
Sport is conquest

.

Mediacritica - Sleep Awake - review

 Another great review for Sleep Awake, this time in Italy.

“Ogni lingua ha un suo silenzio” (Elias Canetti)
“Il silenzio è il linguaggio di tutte le forti passioni, dell’amore (anche nei momenti dolci), dell’ira, della meraviglia, del timore” (Giacomo Leopardi, Pensieri). Tale considerazione sembra permeare l’intera essenza di Sleep Awake, opera prima e indipendente del cineasta rumeno Andrei Stefanescu.
È un’atmosfera dal forte sapore pinteriano a scandire l’incontro tra i due giovani protagonisti, Irina e Ilie, i quali si scrutano intensamente al parco, intavolano un fugace dialogo e decidono di “consumare” il loro primo ed unico rapporto sessuale fino all’inaspettato epilogo che segnerà la vita di entrambi. Ed è un interminabile silenzio tra un dialogo e l’altro a metaforizzare il turbamento interiore della “coppia per un giorno” e a cadenzare l’espressività e gestualità dei due giovani. Un vero e proprio cinéma du corps, dunque, quello proposto da Stefanescu, concettuale e sensoriale allo stesso tempo. Onirico e viscerale, Sleep Awake si avvale di uno stile strettamente amatoriale (evidente è l’utilizzo della camera a mano per buona parte delle riprese) e documentaristico, con ampio spazio all’improvvisazione recitativa e a brevi ed incisivi monologhi.
Caratteristica dell’opera prima di Stefanescu è, inoltre, una dilatazione e scansione dei tempi narrativi secondo una logica naturale più che filmica. A tal proposito, si pensi alla passeggiata dei due amanti verso casa di lui prima dell’atto sessuale – il tutto cronometrato nei minimi dettagli e con un dosaggio centellinato del montaggio. A fare da sfondo è un utilizzo minimale della colonna sonora, presente in sole due scene chiave del film e intervallata dal suono diegetico di un cellulare che squilla. Attorno al vuoto esistenziale dei due giovani si dipana la desolazione di una Bucarest indifferente e spettrale, quasi ad omaggiare l’immagine straniante della periferia francese ne L’età inquieta del cineasta Bruno Dumont. Ed è proprio la città la terza protagonista della pellicola. Deserta e distaccata, fatta di graffiti e di quartieri notturni dalle mille finestre e dai portoni monocromi in stile anni ‘30, Bucarest sembra scrutare i due protagonisti con la sua enigmatica freddezza, quasi fosse un fantasma omnisciente a vegliare su di loro. La sua unica presenza nella notte si manifesta nella nebbia serale che avvolge i corpi di Irina e Ilie, quasi a separarli anziché unirli, sigillando così l’incolmabile vuoto comunicativo tra di loro.


the review continues here:
http://mediacritica.it/2014/03/05/sleep-awake/

english:
"Every language has its own silence" (Elias Canetti)"Silence is the language of all the strong passions of love (even in the desserts), anger, wonder, fear" (Giacomo Leopardi, Thoughts). This consideration seems to permeate the whole essence of Sleep Awake, the first work of the independent Romanian filmmaker Andrei Stefanescu.
This atmosphere has a strong flavor Pinter to mark the meeting between the two young protagonists, and Irina Ilie, who is peering intently at the park and attempting a fleeting dialogue and decide to "consume" their first and only sexual intercourse until 'unexpected epilogue that will mark both their lives. And it is an unending dialogue between silence and the other to create a metaphor for the inner turmoil of the "couple for a day" and punctuate expression and gestures of the two young men. A real cinéma du corps, therefore, that proposed by Stefanescu, sensory and conceptual at the same time. Dreamlike and visceral, Sleep Awake uses a strictly amateur style (evident is the use of hand-held camera for most of the shoot) and documentary, with ample room for improvisation of acting and short and incisive monologues.

Characteristic of the work before Stefanescu is, also, a dilation and scan times narrative according to a logic that more natural filmic. In this regard, we think of the two lovers to walk towards his house before sexual activity - all timed to the last detail and with a dosage sipped assembly. In the background is a minimal use of the soundtrack, present in only two key scenes in the film and spaced from the diegetic sound of a phone ringing. Around the existential emptiness of the two young unravels the desolation of a spectral Bucharest and indifferent, as if to pay homage to the image of alienating the French suburbs The Age restless filmmaker Bruno Dumont. And it is the city's third star of the film. Deserted, detached, without graffiti and nightclub districts with thousands of windows and doors in monochrome '30s, Bucharest seems to scrutinize the two protagonists with its enigmatic coolness, like a ghost omnisciente to watch over them. Its only presence in the night is manifested in evening mist that envelops the bodies of Irina and Ilie, almost to separate rather than unite them, thus sealing the unbridgeable communication gap between them.

the review continues here:
http://mediacritica.it/2014/03/05/sleep-awake/

Nobody wants to watch a QualiaFilm - manifesto

Art is for people that have money, or act as if they have them. People that need more than utilities and comfort. People that need complex, esthetic and sometimes challenging new things.

Thus:

Nobody that has money or wants them will watch a QualiaFilm because we can't show them anything beautiful in our films, we use only leftovers, trash an worn out objects.
No one that fears, respects or believes in Church and its Laws, because we brake the laws of decency and respect to test our ideas, feelings and relationships out there in the 'open space'.
No one that fights and work for their house, food, children and social status, because our characters always want to brake free from their 8 to 5 life. They all want to find the Other Life. Toe one hidden behind our minds.
No one that loves and yearns to win, to have, to power and control, because we hate competition, without it we can open new doors or perception.

Dintr-un Scenariu - Stefana

Spatele unei femei care se spala. In cada. Baia are un geam mare prin care intra lumina desi cada este in intuneric. Totul este invechit, fainata odata alba acum ingalbenita, cada cu email rupt, covorase murdare pe jos. O oglinda cojita sub care un raft de sticla murdara si citeva sticle de parfum si de fixativ. Un pahar colorat de periute de dinti si o singura periuta.
Pe masina de spalat sint hainele ei aruncate si citeva ziare si citeva rebusuri si un creion cu guma la celalalt capat.
Este o femeie trecuta cu pielea moale care ii atirna, o spala ca si cum ar vrea sa si-o puna la loc sa fie din nou intinsa frumos sa poata iesi afara din casa fara sa se simta vinovata si handicapata ca nu mai are cu ce sa atraga privire din jur.
Oglinda este aburita.
STEFANA isi spala calciiele cu o piatra ponce innegrita de vreme. Cu ea se spalau si copii ei cind erau mici.
Detaliile unei femei care se spala in umbra.
(Ferestrele sint aburite, afara se vad masini care trec, niste forme fantomatice care nu se aud deloc.)

there is no awakening

Freedom is something that we create.
Something we have to build.
There is no awakening.
Is building awakeness.

the gesture of looking

For me film is about the gesture of looking. About the feeling of looking at an unreachable point. Film/screen, moving image is touch.
Is a personal, emotional, point of view about forms. An exercise of reaching inside other people's soul, beyond their own consciousness.
Beyond any form or object. Into its own otherness. Purity covered by the machine.