Amarin Suriya
Abstract :
This work emerges from sensibilities, structures of progression, and dualities in recursive storytelling. The work operates within a split narrative: a main story and a sub-story. The latter destabilizes the conventions of cinematic form, reframing how an audience encounters and experiences scenes. Together, these narrative threads coalesce into an experiment in emotional form—a linear composition of fragments that resist closure.
Each compounded element functions as a site of critique. Memory is rendered sequentially, beginning with the main story: the first law of thermodynamics. A father and daughter converse about energy—that it can neither be created nor destroyed, only transformed. This scientific axiom becomes a poetic metaphor for memory and resistance, suggesting that emotional and historical energy persist, shifting only in form.
Objectives :
The work seeks to examine the texture and experience of memory. It reinterprets each fragment, compounding them into a new continuity of meaning. The central metaphor—energy as indestructible yet transformable—becomes a guiding principle. When narrative energy changes state, it collides, overlaps, and produces new resonances. Through this juxtaposition, the film asks: what happens when memory, narrative, and emotion are forced to coexist within a fractured timeline?
Conceptual Framework :
Digital technology expands the filmmaker’s capacity to inhabit and manipulate the interior worlds of characters—not merely as figures within a story, but as players within a system. Traditional cinematic components are reimagined and disassembled, allowing a new aesthetic to emerge—one that rejects classical form while embracing openness and instability.
The work offers viewers both freedom and constraint: freedom to interpret, constraint through fragmentation. It positions itself as an art object rather than a narrative film, inviting audiences to experience, rather than decode, its shifting layers of sound, image, and time.
Process / Methodology :
- From concept and script, select performers and situate them within the chosen environment, capturing spontaneous emotion.
- Record real situations charged with affect—allowing the surrounding atmosphere to imprint itself upon the frame.
- Develop dialogue through playful experimentation—readings, rehearsals, improvisations.
- Employ both linear and non-linear editing. Images and dialogue remain independent: the spoken word precedes or follows the image but never directly supports it.
- Layer sound as collision—crashing, juxtaposing, and refusing synchronization with image.
- During shooting, intentionally evoke strobe-motion effects to heighten estrangement and unfamiliarity.
Techniques and Materials :
Filmed on an iPhone 16 Pro Max using the RECO application. Visual tonality draws from analog film stocks—Kodak T-Max, Ilford 100, and AGFA 400C—to evoke a textured monochrome mood reminiscent of classic avant-garde cinema. Post-production integrates layered sound editing and digital image manipulation to achieve a filmic tactility within a contemporary digital medium.
Result / Conclusion :
Filmed on an iPhone 16 Pro Max using the RECO application. Visual tonality draws from analog film stocks—Kodak T-Max, Ilford 100, and AGFA 400C—to evoke a textured monochrome mood reminiscent of classic avant-garde cinema. Post-production integrates layered sound editing and digital image manipulation to achieve a filmic tactility within a contemporary digital medium.
References :
Chris Marker, Sans Soleil (1983)
Jean-Luc Godard, Goodbye to Language (2014), Jury Prize, Cannes
Jean-Claude Rousseau, The Enclosed Valley (1995)
Jean-Marie Straub, Corneille–Brecht ou Rome l’unique objet de mon ressentiment (2009)
Elden Ring (FromSoftware / Bandai Namco Entertainment, 2022) – Directed by Hidetaka Miyazaki and George R. R. Martin