Kaleidoscopic film.2

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Within the space of a rectangular frame, my mission is to manipulate the world in which we have become so accustomed. Part of my captivation with kaleidoscopes is the ability to pull its viewer out of their logical and common world, placing them inside an environment that is totally upside down and dynamic. I hope to provide the viewer with an alternate reality and provide them with a sense of escapism. It is my goal in filmmaking to make beauty from what others may find mundane or ordinary. which is why I wanted to focus the narrative around the four elements; water, wind, earth and fire.

Taking inspiration from the likes of Luis Enrique Rayas, a filmmaker renounced for taking pieces like Wes Andersons cantered shots and transforming them into beautiful kaleidoscopic adaptions. Like Anderson, I wanted to shoot everything entirely symmetrical and the best way I could think to do that with a twist was to use a birds-eye view. In today's language, a drone, all the shots are filmed from above. I created my own mirrors in post-production, spinning and slicing every drone shot to get the most unique image possible.

I add texture to my images after mirroring them, I saturate colours, sharpen edges, scale, crop and include transitions, making the smoke look more interesting and intricate, the sun look warmer and the water colder.

The music was designed specifically for this project, the drumming of a marching band and the fast beats assist in giving the film some direction. Each shot is cut in time to the beats.

I argue my surrealistic film is more representational of life because it extracts feelings and emotions that aren’t too dissimilar to that we feel often; confusion, captivation, unsettling change.

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