WATCH THE TRAILER
First, the Recap:
The redefining of what is considered “the norm”, “the standard”, “the way things are done”. For the moment we allow ourselves to be placed in a box, the four walls it forms becomes a prison, a barrier, a hinderance to the pursuit of thinking outside the confines of convention. Instead, when given the opportunity, the allowance of considerations that span far outside the usual give birth to something else entirely–innovation, metamorphosis, transformation–and the establishing of something totally, utterly fresh and even potentially revolutionary. But, in creating such a thing, will it be accepted? Will it be given permission to exist beyond the space of its origin? Will it have that chance to make an impression, even in its simplicity, sinking into the minds of a new generation of creatives and the explorations that will follow, to expand, to grow, to teach, to persuade.
Next, my Mind:
To put it mildly, that probably sounded like the most out there, cryptically vague, highly strange synopsis for a film that this critic has written so far in covering the grouping of short films that made up the majority of offerings at the 2nd Annual 2019 Berlin Illambra Experimental Film Festival housed at Salon AM Moritzplatz and hosted by Illambra. Frankly, you might be one hundred percent correct if it wasn’t for the idea that I honestly felt it was the overall series of statements and queries that sums up the journey of filmmaker/creator Matthew LoRe and his final product, a two minute fourteen second short that screened recently at BIEFF. To witness it, one would easily argue it’s a straight up, obscure, yet incontrovertibly unique and artistic expression put forth by LoRe, utilizing music and imagery in tandem to form a foundational basis.
And from the start, no this isn’t about a highly popular Rush album, just in case the film’s title might have struck you as such, and the face that trio was also quite adept at the whole sound and image mastery. But, here, it’s metal, machinery, cogs, gears, wires, anvils, vices, and rust that all have center stage in constantly morphing forms and uses throughout the brief runtime, fashioned into virtually alien-like objects that move, slither, slide, spin, and fluctuate like actual living things, all through the techniques LoRe has brought to bear via soldering and other means. Combine this with the controlled cacophony of metallic sounds that are composed through sampling manipulation, editing, and tonal exploration which accompanies the imagery with a strange symmetry that likewise forms an oddly alien sonic tapestry perfectly appropriate to the film.
In total, “2112” isn’t out to make theorhetical, analytical, metaphysical, or erudite statements to the world, it simply isn’t. But is that not ok when it comes to experimental cinema? Here, we just get the beautifully constructed images and eccentrically atmospheric music with a fiery sun splash of color showcasing one man’s vision of melding music and metal together to demonstrate what can be done as a growing, learning artist sharing his work with the world and waiting for it to be considered and responded to, which in itself is already bolder and more inspired than many of us might ever be.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
