Hi Maria

Something did go wrong with the recording that day. So here are Kris’ notes and the feedback afterwards. For some reason that was recorded but not the Q&A unfortunately.

Q&A

Can you explain the title “Vertical horizon”

Maria has been working with the idea of vertical time for a long time – also related to the ideological time (in layers). It’s the future related to the strata. Going beyond the anthropological idea of time.

On your website – time capsule transformation. You mean the Anthropocene – the idea the plastics will create new rocks & we’re creating a time capsule of ourselves through the rocks. All the ideas of time capsules…..maybe these time capsules will not be readable, that’s related to the project “One year live strata”.

The aspect of forgetting – in the One year live strata the forgetting seems almost something that you embrace, and in the Refuge the forgetting is connected to the idea of losing. The two projects can also be seen as opposite translations of the same idea. It’s a contradiction What part of the self remains if the forgetting goes on. I have overcome the fear of forgetting via this research. Looking at the positive implications of forgetting.

In the One year live strata, you can access the data but you can’t see the individual images – you go beyond the personal here & in the Refuge this seems the other way around, where the individual memory is the basis.

People online seem very interested in other people’s live – but you have the data, that are not personal. We don’t see personal pictures from One year live strata; very abstract. In the beginning of the project it was the idea that we have become our camera’s. The privacy is there from the very beginning. From there the images are convene; the idea of self surveillance. Jonathan Harrance  – We feel fine (Almanac for the human)

Maria is interested in not showing the evidence. Very beautiful design, you think about the visualization.

This is the first proper film that Maria made by herself, that was not commercial. She had video art in the beginning. She doesn’t consider this to be the first time she is really into narration. This is using more film making instead of mixing filming with post production.

Looking at the material; it seems that you’re combining 2 strata in the chronology (visit to the house and the story of the grandmother), obviously in a constructive image. Some elements can be explored in a more narrative way. Some shots didn’t convince Franz because there felt like an idea projected to a camera – as soon as you incorporate memory, Franz misses narrative – is that a choice. There could be a narrative…Maria explains that there is a narrative for sure. It’s a journey through time; pretty experimental. The idea of the walks are pretty important. Being the oldest granddaughter, she had these walks with her grandmother, that’s we’re she got the stories. That will be the re-enactment. Doesn’t want to repeat herself. Most of the shots are herself, just walking. It could be a brave act, just showing the audience a person walking, but through the walks there is remembrance and imagination. How will you make that clear? Voice over idea in the script – more like a conversation between the grandmother and the granddaughter. It’s such a personal story that she really wants to find a good level between the existential and reality. The conversations need to feel real. She is really struggling with that. How to be profound and not cheesy. It’s a voice over in conversations.

You already chose a form of representation since you already work with an actress. But if this is going to be a film – could there not be more of a visual form? There is an opportunity for you to use visual representation more than relying on the core of words.

Maria really wants to look for using more visuals instead of words. Franz is wandering about some things and he has some references (2 Spanish films) – film was a story is predominantly told through images instead of spoken/written language. Your images are strong. Maria admits that she has problems with the visuals as well. How to avoid it becoming nostalgic. And how will it become clear for the audience, with several layers. She has a problem with images going into the house, seeing the ruin, that has been done so many times before. Maybe you’re just lacking some tools.

We also had these typical technical problems – just wanting to film some ideas that I had in mind (doing experiments). I wanted to film with a drone perse. I found out that this works for me in this story.

Any final questions? What is going to be your next film? She is so interested in the research itself – making an online documentary about the different aspects of the research – remembrance will be theme. Why online? Because we live in the digital age, it’s an intentional choice. The beginning is the idea of forgetting in the digital age. You can have several versions. So in the end you’d like to put everything together in a new one. Maybe this is the new project already and you did already pass the other one, meaning you’re further developed already. And maybe that’s more your form and your personal style. But Maria really feels that she needs to end this project first.

Franz found the drone shots the most convincing, also connected with the idea of the vertical horizon. The horizontal level is not yet developed.

best,
Sabien