The position of the body in architecture is an eternal question for me.
How the architect thinks about this issue seems very important to me. And how the mind of the director, or any manufacturer of images, places the human body or its parts in architectural space, is the cultural support for the architect, so this is a equally important issue. I think this film also addresses this issue.
The kaleidoscope, a figure made up of mirrored replications of the same image, offers a very “organic” vision of things. Like a visual metaphor for cell division, it opens up a realm of perceptions and emotions far beyond the mere decoration it might at first appear to embody. This figure, very rare in films, has always questioned me, which is why I’ve been exploring it in film for a long time.
It’s been a nice surprise to see animated kaleidoscopes flourishing on screens over the last four or five years, in film and series credits in particular. I invite you to read the manifesto text on the practice of animated kaleidoscopes, which I wrote ten years ago, in 2014: « Thinking about moving kaleidoscope image ».