I V A A S K S

Documenting The Masses

— @IvaRad on Twitter.

Tagged Film:

Yes, it’s been a while since my last post…But a lot has also happened.

It’s been an incredibly busy year, busy with post-production and finishing of my first feature-length film, which is now finally complete and touring the festivals. I’ll quickly summarize the happenings since the film’s completion to make up for the lost time and lack of updates. Hopefully, this is somewhat entertaining. 

Evaporating Borders was completed in January and premiered at International Film Festival Rotterdam to an eager audience!

The film was part of the State of Europe section at the festival along with films like Gianfranco Rossi’s brilliant Sacro Gra and Kaveh Bakhtiari’L’escale. Other gems at the festival included Ilya Khrzhanovsky's 4, Ben Russell and Ben River’s Spell to Ward Off the Darkness (premiering at ND/NF), Ester Martin Bergsmark’s Something Must Break which won the Tiger, Roberto Minervini’s Stop The Pounding Heart (ND/NF), Riad Sattouf’s Jacky Au Royaume des Filles and Vimukthi Jayasundara's The Forsaken Land.

The programming at IFFR is daring and creative… each film had it’s own unique voice and approach and I found the festival as a whole incredibly inspiring.

I joined filmmakers Xiaolu Guo and Thomas Bellinck, as well as Rutger Wolfson on a panel to talk about the State of Europe, spoke to FRED Film Radio on a podcast about the film and came home to NY to find a lovely review of Evaporating Borders by The Hollywood Reporter in which Clarence Tsui calls the film “Thoughtful and lyrical…Radivojevic’s film is a valiant call for a new way of thinking”.

In Rotterdam, we found out the film would have a US premiere at SXSW Film Festival. The film premiered to a full house and received rave reviews.

Film Threat wrote, possibly the best review one could have hoped for, humbling… “Aesthetically, I’ve never seen such magnificent cinematography in a documentary…Equally impressive is Radivojevic’s skill in driving her message home…Evaporating Borders is a must-see movie and its filmmaker is a highly sensitive rarity, with the great ability to open our eyes and change the world.

Nonfics listed Evaporating Borders as one of the Top 5 documentaries at 2014 SXSW Film Festival. Hammer To Nail’s Mike S. Ryan and Jesse Klein selected it as their “Best of SXSW” picks. 

Austin Chronicle described the film as “poetic, stream-of-consciousness narration enhances the beautiful visual essay; its structure – five chapters – serves to efficiently organize a complicated story of shifting borders and cultural paradigms and Cineuropa wrote “through its five chapters full of gentle, honest and simple images, Radivojevic’s story manages to transcend the most thoughtful, and even the most lyrical, aspect of a subject that does not usually have room to accommodate delicacy of any kind.”

The next festival that followed was Thessaloniki Documentary Film Festival. Other films in the program included Michael Obert’s beautiful Song From The Forest and Talal Derki’s Return to Homs, a powerful film.

The audiences in Thessaloniki asked brilliant questions and engaged with the film in the most interesting and intimate way. The kind of discussion that feels organic and productive and enriching. Analytical. A beautiful experience.

From Thessaloniki, the film went to Human Rights Watch London. The conversation there was just as engaging. The best part is that the people relate the story to their own surrounding, their own country and environment. They engage with it on a personal level. At least those who are vocal about it ::: Little Frances’ post summarizes it here.

While there BBC World News Invited us for a chat which was to air live.

A few interviews took place in between, Reelscreen, IndieWire, Filmmaker Mag’s Women of SXSW, Sarah Salovaara’s 5 Questions.

I’m writing all this from Cyprus, where I spent a good portion of the past couple of years making the film. Next week the film will screen at Cyprus Film Days to a local audience. It will be emotional and conflicting and probably intense. We’re looking forward to the discussions.

From there we head to Sarasota FF and HotDocs and luckily the list continues. 

All this to say, that I’m quite overwhelmed and incredibly grateful that the film has found a path and is being well received. It’s been quite special and I couldn’t ask for more. Policies are rarely changed because of documentary films, though I hope it will prove transformative for some.

The life of the film is still in its early stages, but i’m already itching to make, create and work on new projects.

An ivaasks short is long over due and coming soon.

With love.

Enjoy.

Mar 29

I’m extremely honored, excited and humbled to be included in this year’s list of 25 New Faces of Independent Film by Filmmaker Magazine, along with 24 other talents. The list profiles a selected range of up and coming film talent and work to keep a look out for. A huge thank you to everyone at Filmmaker for this support.

My feature film “Evaporating Borders”, profiled here will also be participating at the IFP Film Week as a part of Spotlight on Documentaries in September. Check out the full list here

Exciting times.

Jul 27
I’m extremely honored, excited and humbled to be included in this year’s list of 25 New Faces of Independent Film by Filmmaker Magazine, along with 24 other talents. The list profiles a selected range of up and coming film talent and work to keep a look out for. A huge thank you to everyone at Filmmaker for this support.
My feature film “Evaporating Borders”, profiled here will also be participating at the IFP Film Week as a part of Spotlight on Documentaries in September. Check out the full list here. 
Exciting times.

WATCH ::: Between Colors Of I 

Just before diving into the the abyss of post production on Evaporating Borders, I sidetracked a little bit and composed this short hybrid short, loosely based on the recent trip through Morocco.

It attempts to borrow from the Proustian narrator, somewhat elusive, somewhat unknown, fluctuating - he exists in an unknown time period in an undefined space. The voiceover is narrated by a talented musician and a new good friend I encountered on the way Yasser Belaiachi.

Otherwise, this week my short Ben : In The Mind’s Eye screens at the Brooklyn Film Festival - it shares the screen with 5 other intense films, a really strong program. Today is the last day to check it out!

I would skip Harmony Korine’s Spring Breakers and watch or re-watch the brilliant Mystery Train by Jim Jarmusch instead… not that they are connected in anyway, the later is just a beautiful gem I discovered recently.

I’m switching off for a bit and embracing the beast (of a film).

Enjoy everything.

Jun 07
WATCH ::: Between Colors Of I 
Just before diving into the the abyss of post production on Evaporating Borders, I sidetracked a little bit and composed this short hybrid short, loosely based on the recent trip through Morocco.
It attempts to borrow from the Proustian narrator, somewhat elusive, somewhat unknown, fluctuating - he exists in an unknown time period in an undefined space. The voiceover is narrated by a talented musician and a new good friend I encountered on the way Yasser Belaiachi.
Otherwise, this week my short Ben : In The Mind’s Eye screens at the Brooklyn Film Festival - it shares the screen with 5 other intense films, a really strong program. Today is the last day to check it out!
I would skip Harmony Korine’s Spring Breakers and watch or re-watch the brilliant Mystery Train by Jim Jarmusch instead… not that they are connected in anyway, the later is just a beautiful gem I discovered recently.
I’m switching off for a bit and embracing the beast (of a film).
Enjoy everything.

WATCH, Evaporating Borders Excerpt ::: https://vimeo.com/65610353

It’s an exciting time. My whole summer is dedicated to the post production of my first feature length documentary and definitely the most ambitious of all my work thus far.

It has been an interesting journey and it continues to be.

Over the years I’ve developed quite an obsession with the Essay Film in the vane of Chris Marker, Agnes Varda, Alain Resnais, Allan Sekula, Harun Farocki. The process allows for exploration and search, it’s an investigation that doesn’t necessarily resolve. And it happens to be the most effective way I can express myself in film. I’m exciting about exploring and pushing those possibilites with this Evaporating Borders.

I was intrigued by some of the thoughts in Timothy Corrigan's book  ”The Essay Film : From Montaigne, After Marker” (enjoy this excerpt).

Two films that I found inspiring recently, both over 30 years old are Alain ResnaisHiroshima Mon Amour" and Sergej Paradjanov's “Color of Pomegranates”. Very different films, but both adventurous, daring, explorative, visually compelling and reflective. Reflecting on memory, tradition, culture and identity.

Enjoy.

Jun 05
WATCH, Evaporating Borders Excerpt ::: https://vimeo.com/65610353
It’s an exciting time. My whole summer is dedicated to the post production of my first feature length documentary and definitely the most ambitious of all my work thus far.
It has been an interesting journey and it continues to be.
Over the years I’ve developed quite an obsession with the Essay Film in the vane of Chris Marker, Agnes Varda, Alain Resnais, Allan Sekula, Harun Farocki. The process allows for exploration and search, it’s an investigation that doesn’t necessarily resolve. And it happens to be the most effective way I can express myself in film. I’m exciting about exploring and pushing those possibilites with this Evaporating Borders.
I was intrigued by some of the thoughts in Timothy Corrigan's book  ”The Essay Film : From Montaigne, After Marker” (enjoy this excerpt).
Two films that I found inspiring recently, both over 30 years old are Alain Resnais “Hiroshima Mon Amour" and Sergej Paradjanov's “Color of Pomegranates”. Very different films, but both adventurous, daring, explorative, visually compelling and reflective. Reflecting on memory, tradition, culture and identity.
Enjoy.

WATCH IT HERE : https://vimeo.com/53804072

In April I took a little trip down the Mexico. I purposely left the camera at home and brought only a sound recorder and the sick addictive device that is the iphone. The idea was to not spend the entire trip behind the camera lens but to discover what could be created as an alternative…So, I resorted to my other (neglected) loves, illustration, photography and animation. It”s what a day in a small Mexican town felt like.

Last night Union Docs hosted a beautiful screening of shorts by the Brooklyn Filmmakers Collective, it included my short Gawking Red.

I’ve been deeply impressed by two films recently, one fiction and documentary.

Leo Carax's Holy Motors is a must see, a very Brechtian approach to filmmaking. The viewer is never relaxed into a passive indulgence, but is continuously interrupted by new possibilities. The film is densely layered; it addressed our voyeuristic society, our need for sensationalism, how and why we are entertained. It very much comments on acting, roles and audience.


At the same time watching it, the viewer is trying to decipher between multiple realities, that on film and their own. What is real and for who?

What is beautiful and who decides it is so? It also brings to mind the idea of hybrid identities and as Audre Lorde would say, the possibility of being and assuming multiple identities at the same time.


At the other end…

In his 10 advice tips for aspiring filmmakers, the brilliant Russian documentary filmmaker Viktor Kossakovsky says “Don’t film if you want to say something – just say it or write it. Film only if you want to show something, or you want people to see something. This concerns both the film as a whole and every single shot within the film.” Michael Glawogger's Workingman’s Death is a perfect example.  The film covers volumes with its succinct simplicity. Just brilliant.


Enjoy.

Nov 19
WATCH IT HERE : https://vimeo.com/53804072
In April I took a little trip down the Mexico. I purposely left the camera at home and brought only a sound recorder and the sick addictive device that is the iphone. The idea was to not spend the entire trip behind the camera lens but to discover what could be created as an alternative…So, I resorted to my other (neglected) loves, illustration, photography and animation. It”s what a day in a small Mexican town felt like.
Last night Union Docs hosted a beautiful screening of shorts by the Brooklyn Filmmakers Collective, it included my short Gawking Red.
I’ve been deeply impressed by two films recently, one fiction and documentary.
Leo Carax's Holy Motors is a must see, a very Brechtian approach to filmmaking. The viewer is never relaxed into a passive indulgence, but is continuously interrupted by new possibilities. The film is densely layered; it addressed our voyeuristic society, our need for sensationalism, how and why we are entertained. It very much comments on acting, roles and audience.

At the same time watching it, the viewer is trying to decipher between multiple realities, that on film and their own. What is real and for who?
What is beautiful and who decides it is so? It also brings to mind the idea of hybrid identities and as Audre Lorde would say, the possibility of being and assuming multiple identities at the same time.

At the other end…
In his 10 advice tips for aspiring filmmakers, the brilliant Russian documentary filmmaker Viktor Kossakovsky says “Don’t film if you want to say something – just say it or write it. Film only if you want to show something, or you want people to see something. This concerns both the film as a whole and every single shot within the film.” Michael Glawogger's Workingman’s Death is a perfect example.  The film covers volumes with its succinct simplicity. Just brilliant.

Enjoy.

Across the seas ::: http://vimeo.com/45797403

I’m dwelling in Mediterranean waters over the summer and working on my first full length documentary
that addresses the lives of political refugees and asylum seekers on the island of Cyprus. Specifically, it addresses tolerance, migration trends, nation-states/nation-building, changing global dynamics and collapse of Eurocentrism through the lens of current migration trends in Cyprus. It has been an interesting journey and a surreal one.

In between incomprehensible refugee stories of exile and plight I return to my life and consider my own reality.
It’s a difficult adjustment. But more than anything else, it reminds me to appreciate it all.
Here on a full moon night, we enjoy Xartini’s song…and appreciate the night.

On a filmic note :::
Here’s a brilliant film by Aris Chatzistefanou and Katerina Kitidi that analyzes the crisis in Greece and elsewhere, political agendas and effects of privatization - it features Naomi Klein, Zizek and others. It’s brilliantly executed and free online ::: CATASTROIKA.

And another brilliant project from Greece, a web doc series that dig into all cultural, socio-economic aspects of the country ::: 
THE PRISM
.

Enjoy.

Jul 16
Across the seas ::: http://vimeo.com/45797403
I’m dwelling in Mediterranean waters over the summer and working on my first full length documentarythat addresses the lives of political refugees and asylum seekers on the island of Cyprus. Specifically, it addresses tolerance, migration trends, nation-states/nation-building, changing global dynamics and collapse of Eurocentrism through the lens of current migration trends in Cyprus. It has been an interesting journey and a surreal one.
In between incomprehensible refugee stories of exile and plight I return to my life and consider my own reality.It’s a difficult adjustment. But more than anything else, it reminds me to appreciate it all.Here on a full moon night, we enjoy Xartini’s song…and appreciate the night.
On a filmic note :::Here’s a brilliant film by Aris Chatzistefanou and Katerina Kitidi that analyzes the crisis in Greece and elsewhere, political agendas and effects of privatization - it features Naomi Klein, Zizek and others. It’s brilliantly executed and free online ::: CATASTROIKA.
And another brilliant project from Greece, a web doc series that dig into all cultural, socio-economic aspects of the country ::: THE PRISM.
Enjoy.

Over the weekend I went over to check in my friend Ronnie…walking into his studio in Tribeca is like walking into a rainbow…instant joy.

Here’s what Ronnie’s world feels like ::: http://vimeo.com/16841815

On a different note, I loved Omar Amiray’s film “Love Aborted” that screened as part of Experimentation in Arab Cinema program at MOMA last week… a really interesting documentary from 1985 on relationships between men and women in Egypt.

At the DOC NYC Fest, I didn’t connect much with Werner Herzog’s philosophies in his conversation with David Edelstein (film critic of New York Magazine)… though he did admit there is a possibility that he looks at (in this case) Weisman and verite film through “tunnel” vision…David, brilliantly challenged Herzog a few times with his questions…leaving a somewhat speechless Herzog….

it reminded me how important it is to provide room for openness. 

Nov 14
Over the weekend I went over to check in my friend Ronnie…walking into his studio in Tribeca is like walking into a rainbow…instant joy.
Here’s what Ronnie’s world feels like ::: http://vimeo.com/16841815
On a different note, I loved Omar Amiray’s film “Love Aborted” that screened as part of Experimentation in Arab Cinema program at MOMA last week… a really interesting documentary from 1985 on relationships between men and women in Egypt.
At the DOC NYC Fest, I didn’t connect much with Werner Herzog’s philosophies in his conversation with David Edelstein (film critic of New York Magazine)… though he did admit there is a possibility that he looks at (in this case) Weisman and verite film through “tunnel” vision…David, brilliantly challenged Herzog a few times with his questions…leaving a somewhat speechless Herzog….
it reminded me how important it is to provide room for openness. 

Yes, it’s been a while since my last post…But a lot has also happened.

It’s been an incredibly busy year, busy with post-production and finishing of my first feature-length film, which is now finally complete and touring the festivals. I’ll quickly summarize the happenings since the film’s completion to make up for the lost time and lack of updates. Hopefully, this is somewhat entertaining. 

Evaporating Borders was completed in January and premiered at International Film Festival Rotterdam to an eager audience!

The film was part of the State of Europe section at the festival along with films like Gianfranco Rossi’s brilliant Sacro Gra and Kaveh Bakhtiari’L’escale. Other gems at the festival included Ilya Khrzhanovsky's 4, Ben Russell and Ben River’s Spell to Ward Off the Darkness (premiering at ND/NF), Ester Martin Bergsmark’s Something Must Break which won the Tiger, Roberto Minervini’s Stop The Pounding Heart (ND/NF), Riad Sattouf’s Jacky Au Royaume des Filles and Vimukthi Jayasundara's The Forsaken Land.

The programming at IFFR is daring and creative… each film had it’s own unique voice and approach and I found the festival as a whole incredibly inspiring.

I joined filmmakers Xiaolu Guo and Thomas Bellinck, as well as Rutger Wolfson on a panel to talk about the State of Europe, spoke to FRED Film Radio on a podcast about the film and came home to NY to find a lovely review of Evaporating Borders by The Hollywood Reporter in which Clarence Tsui calls the film “Thoughtful and lyrical…Radivojevic’s film is a valiant call for a new way of thinking”.

In Rotterdam, we found out the film would have a US premiere at SXSW Film Festival. The film premiered to a full house and received rave reviews.

Film Threat wrote, possibly the best review one could have hoped for, humbling… “Aesthetically, I’ve never seen such magnificent cinematography in a documentary…Equally impressive is Radivojevic’s skill in driving her message home…Evaporating Borders is a must-see movie and its filmmaker is a highly sensitive rarity, with the great ability to open our eyes and change the world.

Nonfics listed Evaporating Borders as one of the Top 5 documentaries at 2014 SXSW Film Festival. Hammer To Nail’s Mike S. Ryan and Jesse Klein selected it as their “Best of SXSW” picks. 

Austin Chronicle described the film as “poetic, stream-of-consciousness narration enhances the beautiful visual essay; its structure – five chapters – serves to efficiently organize a complicated story of shifting borders and cultural paradigms and Cineuropa wrote “through its five chapters full of gentle, honest and simple images, Radivojevic’s story manages to transcend the most thoughtful, and even the most lyrical, aspect of a subject that does not usually have room to accommodate delicacy of any kind.”

The next festival that followed was Thessaloniki Documentary Film Festival. Other films in the program included Michael Obert’s beautiful Song From The Forest and Talal Derki’s Return to Homs, a powerful film.

The audiences in Thessaloniki asked brilliant questions and engaged with the film in the most interesting and intimate way. The kind of discussion that feels organic and productive and enriching. Analytical. A beautiful experience.

From Thessaloniki, the film went to Human Rights Watch London. The conversation there was just as engaging. The best part is that the people relate the story to their own surrounding, their own country and environment. They engage with it on a personal level. At least those who are vocal about it ::: Little Frances’ post summarizes it here.

While there BBC World News Invited us for a chat which was to air live.

A few interviews took place in between, Reelscreen, IndieWire, Filmmaker Mag’s Women of SXSW, Sarah Salovaara’s 5 Questions.

I’m writing all this from Cyprus, where I spent a good portion of the past couple of years making the film. Next week the film will screen at Cyprus Film Days to a local audience. It will be emotional and conflicting and probably intense. We’re looking forward to the discussions.

From there we head to Sarasota FF and HotDocs and luckily the list continues. 

All this to say, that I’m quite overwhelmed and incredibly grateful that the film has found a path and is being well received. It’s been quite special and I couldn’t ask for more. Policies are rarely changed because of documentary films, though I hope it will prove transformative for some.

The life of the film is still in its early stages, but i’m already itching to make, create and work on new projects.

An ivaasks short is long over due and coming soon.

With love.

Enjoy.

I V A A S K S

Posted on Saturday July 27th 2013 at 04:21pm. Its tags are listed below.

I’m extremely honored, excited and humbled to be included in this year’s list of 25 New Faces of Independent Film by Filmmaker Magazine, along with 24 other talents. The list profiles a selected range of up and coming film talent and work to keep a look out for. A huge thank you to everyone at Filmmaker for this support.
My feature film “Evaporating Borders”, profiled here will also be participating at the IFP Film Week as a part of Spotlight on Documentaries in September. Check out the full list here. 
Exciting times.
I’m extremely honored, excited and humbled to be included in this year’s list of 25 New Faces of Independent Film by Filmmaker Magazine, along with 24 other talents. The list profiles a selected range of up and coming film talent and work to keep a look out for. A huge thank you to everyone at Filmmaker for this support.
My feature film “Evaporating Borders”, profiled here will also be participating at the IFP Film Week as a part of Spotlight on Documentaries in September. Check out the full list here. 
Exciting times.

I’m extremely honored, excited and humbled to be included in this year’s list of 25 New Faces of Independent Film by Filmmaker Magazine, along with 24 other talents. The list profiles a selected range of up and coming film talent and work to keep a look out for. A huge thank you to everyone at Filmmaker for this support.

My feature film “Evaporating Borders”, profiled here will also be participating at the IFP Film Week as a part of Spotlight on Documentaries in September. Check out the full list here

Exciting times.

WATCH ::: Between Colors Of I 
Just before diving into the the abyss of post production on Evaporating Borders, I sidetracked a little bit and composed this short hybrid short, loosely based on the recent trip through Morocco.
It attempts to borrow from the Proustian narrator, somewhat elusive, somewhat unknown, fluctuating - he exists in an unknown time period in an undefined space. The voiceover is narrated by a talented musician and a new good friend I encountered on the way Yasser Belaiachi.
Otherwise, this week my short Ben : In The Mind’s Eye screens at the Brooklyn Film Festival - it shares the screen with 5 other intense films, a really strong program. Today is the last day to check it out!
I would skip Harmony Korine’s Spring Breakers and watch or re-watch the brilliant Mystery Train by Jim Jarmusch instead… not that they are connected in anyway, the later is just a beautiful gem I discovered recently.
I’m switching off for a bit and embracing the beast (of a film).
Enjoy everything.
WATCH ::: Between Colors Of I 
Just before diving into the the abyss of post production on Evaporating Borders, I sidetracked a little bit and composed this short hybrid short, loosely based on the recent trip through Morocco.
It attempts to borrow from the Proustian narrator, somewhat elusive, somewhat unknown, fluctuating - he exists in an unknown time period in an undefined space. The voiceover is narrated by a talented musician and a new good friend I encountered on the way Yasser Belaiachi.
Otherwise, this week my short Ben : In The Mind’s Eye screens at the Brooklyn Film Festival - it shares the screen with 5 other intense films, a really strong program. Today is the last day to check it out!
I would skip Harmony Korine’s Spring Breakers and watch or re-watch the brilliant Mystery Train by Jim Jarmusch instead… not that they are connected in anyway, the later is just a beautiful gem I discovered recently.
I’m switching off for a bit and embracing the beast (of a film).
Enjoy everything.

WATCH ::: Between Colors Of I 

Just before diving into the the abyss of post production on Evaporating Borders, I sidetracked a little bit and composed this short hybrid short, loosely based on the recent trip through Morocco.

It attempts to borrow from the Proustian narrator, somewhat elusive, somewhat unknown, fluctuating - he exists in an unknown time period in an undefined space. The voiceover is narrated by a talented musician and a new good friend I encountered on the way Yasser Belaiachi.

Otherwise, this week my short Ben : In The Mind’s Eye screens at the Brooklyn Film Festival - it shares the screen with 5 other intense films, a really strong program. Today is the last day to check it out!

I would skip Harmony Korine’s Spring Breakers and watch or re-watch the brilliant Mystery Train by Jim Jarmusch instead… not that they are connected in anyway, the later is just a beautiful gem I discovered recently.

I’m switching off for a bit and embracing the beast (of a film).

Enjoy everything.

WATCH, Evaporating Borders Excerpt ::: https://vimeo.com/65610353
It’s an exciting time. My whole summer is dedicated to the post production of my first feature length documentary and definitely the most ambitious of all my work thus far.
It has been an interesting journey and it continues to be.
Over the years I’ve developed quite an obsession with the Essay Film in the vane of Chris Marker, Agnes Varda, Alain Resnais, Allan Sekula, Harun Farocki. The process allows for exploration and search, it’s an investigation that doesn’t necessarily resolve. And it happens to be the most effective way I can express myself in film. I’m exciting about exploring and pushing those possibilites with this Evaporating Borders.
I was intrigued by some of the thoughts in Timothy Corrigan's book  ”The Essay Film : From Montaigne, After Marker” (enjoy this excerpt).
Two films that I found inspiring recently, both over 30 years old are Alain Resnais “Hiroshima Mon Amour" and Sergej Paradjanov's “Color of Pomegranates”. Very different films, but both adventurous, daring, explorative, visually compelling and reflective. Reflecting on memory, tradition, culture and identity.
Enjoy.
WATCH, Evaporating Borders Excerpt ::: https://vimeo.com/65610353
It’s an exciting time. My whole summer is dedicated to the post production of my first feature length documentary and definitely the most ambitious of all my work thus far.
It has been an interesting journey and it continues to be.
Over the years I’ve developed quite an obsession with the Essay Film in the vane of Chris Marker, Agnes Varda, Alain Resnais, Allan Sekula, Harun Farocki. The process allows for exploration and search, it’s an investigation that doesn’t necessarily resolve. And it happens to be the most effective way I can express myself in film. I’m exciting about exploring and pushing those possibilites with this Evaporating Borders.
I was intrigued by some of the thoughts in Timothy Corrigan's book  ”The Essay Film : From Montaigne, After Marker” (enjoy this excerpt).
Two films that I found inspiring recently, both over 30 years old are Alain Resnais “Hiroshima Mon Amour" and Sergej Paradjanov's “Color of Pomegranates”. Very different films, but both adventurous, daring, explorative, visually compelling and reflective. Reflecting on memory, tradition, culture and identity.
Enjoy.

WATCH, Evaporating Borders Excerpt ::: https://vimeo.com/65610353

It’s an exciting time. My whole summer is dedicated to the post production of my first feature length documentary and definitely the most ambitious of all my work thus far.

It has been an interesting journey and it continues to be.

Over the years I’ve developed quite an obsession with the Essay Film in the vane of Chris Marker, Agnes Varda, Alain Resnais, Allan Sekula, Harun Farocki. The process allows for exploration and search, it’s an investigation that doesn’t necessarily resolve. And it happens to be the most effective way I can express myself in film. I’m exciting about exploring and pushing those possibilites with this Evaporating Borders.

I was intrigued by some of the thoughts in Timothy Corrigan's book  ”The Essay Film : From Montaigne, After Marker” (enjoy this excerpt).

Two films that I found inspiring recently, both over 30 years old are Alain ResnaisHiroshima Mon Amour" and Sergej Paradjanov's “Color of Pomegranates”. Very different films, but both adventurous, daring, explorative, visually compelling and reflective. Reflecting on memory, tradition, culture and identity.

Enjoy.

WATCH IT HERE : https://vimeo.com/53804072
In April I took a little trip down the Mexico. I purposely left the camera at home and brought only a sound recorder and the sick addictive device that is the iphone. The idea was to not spend the entire trip behind the camera lens but to discover what could be created as an alternative…So, I resorted to my other (neglected) loves, illustration, photography and animation. It”s what a day in a small Mexican town felt like.
Last night Union Docs hosted a beautiful screening of shorts by the Brooklyn Filmmakers Collective, it included my short Gawking Red.
I’ve been deeply impressed by two films recently, one fiction and documentary.
Leo Carax's Holy Motors is a must see, a very Brechtian approach to filmmaking. The viewer is never relaxed into a passive indulgence, but is continuously interrupted by new possibilities. The film is densely layered; it addressed our voyeuristic society, our need for sensationalism, how and why we are entertained. It very much comments on acting, roles and audience.

At the same time watching it, the viewer is trying to decipher between multiple realities, that on film and their own. What is real and for who?
What is beautiful and who decides it is so? It also brings to mind the idea of hybrid identities and as Audre Lorde would say, the possibility of being and assuming multiple identities at the same time.

At the other end…
In his 10 advice tips for aspiring filmmakers, the brilliant Russian documentary filmmaker Viktor Kossakovsky says “Don’t film if you want to say something – just say it or write it. Film only if you want to show something, or you want people to see something. This concerns both the film as a whole and every single shot within the film.” Michael Glawogger's Workingman’s Death is a perfect example.  The film covers volumes with its succinct simplicity. Just brilliant.

Enjoy.
WATCH IT HERE : https://vimeo.com/53804072
In April I took a little trip down the Mexico. I purposely left the camera at home and brought only a sound recorder and the sick addictive device that is the iphone. The idea was to not spend the entire trip behind the camera lens but to discover what could be created as an alternative…So, I resorted to my other (neglected) loves, illustration, photography and animation. It”s what a day in a small Mexican town felt like.
Last night Union Docs hosted a beautiful screening of shorts by the Brooklyn Filmmakers Collective, it included my short Gawking Red.
I’ve been deeply impressed by two films recently, one fiction and documentary.
Leo Carax's Holy Motors is a must see, a very Brechtian approach to filmmaking. The viewer is never relaxed into a passive indulgence, but is continuously interrupted by new possibilities. The film is densely layered; it addressed our voyeuristic society, our need for sensationalism, how and why we are entertained. It very much comments on acting, roles and audience.

At the same time watching it, the viewer is trying to decipher between multiple realities, that on film and their own. What is real and for who?
What is beautiful and who decides it is so? It also brings to mind the idea of hybrid identities and as Audre Lorde would say, the possibility of being and assuming multiple identities at the same time.

At the other end…
In his 10 advice tips for aspiring filmmakers, the brilliant Russian documentary filmmaker Viktor Kossakovsky says “Don’t film if you want to say something – just say it or write it. Film only if you want to show something, or you want people to see something. This concerns both the film as a whole and every single shot within the film.” Michael Glawogger's Workingman’s Death is a perfect example.  The film covers volumes with its succinct simplicity. Just brilliant.

Enjoy.

WATCH IT HERE : https://vimeo.com/53804072

In April I took a little trip down the Mexico. I purposely left the camera at home and brought only a sound recorder and the sick addictive device that is the iphone. The idea was to not spend the entire trip behind the camera lens but to discover what could be created as an alternative…So, I resorted to my other (neglected) loves, illustration, photography and animation. It”s what a day in a small Mexican town felt like.

Last night Union Docs hosted a beautiful screening of shorts by the Brooklyn Filmmakers Collective, it included my short Gawking Red.

I’ve been deeply impressed by two films recently, one fiction and documentary.

Leo Carax's Holy Motors is a must see, a very Brechtian approach to filmmaking. The viewer is never relaxed into a passive indulgence, but is continuously interrupted by new possibilities. The film is densely layered; it addressed our voyeuristic society, our need for sensationalism, how and why we are entertained. It very much comments on acting, roles and audience.


At the same time watching it, the viewer is trying to decipher between multiple realities, that on film and their own. What is real and for who?

What is beautiful and who decides it is so? It also brings to mind the idea of hybrid identities and as Audre Lorde would say, the possibility of being and assuming multiple identities at the same time.


At the other end…

In his 10 advice tips for aspiring filmmakers, the brilliant Russian documentary filmmaker Viktor Kossakovsky says “Don’t film if you want to say something – just say it or write it. Film only if you want to show something, or you want people to see something. This concerns both the film as a whole and every single shot within the film.” Michael Glawogger's Workingman’s Death is a perfect example.  The film covers volumes with its succinct simplicity. Just brilliant.


Enjoy.

Across the seas ::: http://vimeo.com/45797403
I’m dwelling in Mediterranean waters over the summer and working on my first full length documentarythat addresses the lives of political refugees and asylum seekers on the island of Cyprus. Specifically, it addresses tolerance, migration trends, nation-states/nation-building, changing global dynamics and collapse of Eurocentrism through the lens of current migration trends in Cyprus. It has been an interesting journey and a surreal one.
In between incomprehensible refugee stories of exile and plight I return to my life and consider my own reality.It’s a difficult adjustment. But more than anything else, it reminds me to appreciate it all.Here on a full moon night, we enjoy Xartini’s song…and appreciate the night.
On a filmic note :::Here’s a brilliant film by Aris Chatzistefanou and Katerina Kitidi that analyzes the crisis in Greece and elsewhere, political agendas and effects of privatization - it features Naomi Klein, Zizek and others. It’s brilliantly executed and free online ::: CATASTROIKA.
And another brilliant project from Greece, a web doc series that dig into all cultural, socio-economic aspects of the country ::: THE PRISM.
Enjoy.
Across the seas ::: http://vimeo.com/45797403
I’m dwelling in Mediterranean waters over the summer and working on my first full length documentarythat addresses the lives of political refugees and asylum seekers on the island of Cyprus. Specifically, it addresses tolerance, migration trends, nation-states/nation-building, changing global dynamics and collapse of Eurocentrism through the lens of current migration trends in Cyprus. It has been an interesting journey and a surreal one.
In between incomprehensible refugee stories of exile and plight I return to my life and consider my own reality.It’s a difficult adjustment. But more than anything else, it reminds me to appreciate it all.Here on a full moon night, we enjoy Xartini’s song…and appreciate the night.
On a filmic note :::Here’s a brilliant film by Aris Chatzistefanou and Katerina Kitidi that analyzes the crisis in Greece and elsewhere, political agendas and effects of privatization - it features Naomi Klein, Zizek and others. It’s brilliantly executed and free online ::: CATASTROIKA.
And another brilliant project from Greece, a web doc series that dig into all cultural, socio-economic aspects of the country ::: THE PRISM.
Enjoy.

Across the seas ::: http://vimeo.com/45797403

I’m dwelling in Mediterranean waters over the summer and working on my first full length documentary
that addresses the lives of political refugees and asylum seekers on the island of Cyprus. Specifically, it addresses tolerance, migration trends, nation-states/nation-building, changing global dynamics and collapse of Eurocentrism through the lens of current migration trends in Cyprus. It has been an interesting journey and a surreal one.

In between incomprehensible refugee stories of exile and plight I return to my life and consider my own reality.
It’s a difficult adjustment. But more than anything else, it reminds me to appreciate it all.
Here on a full moon night, we enjoy Xartini’s song…and appreciate the night.

On a filmic note :::
Here’s a brilliant film by Aris Chatzistefanou and Katerina Kitidi that analyzes the crisis in Greece and elsewhere, political agendas and effects of privatization - it features Naomi Klein, Zizek and others. It’s brilliantly executed and free online ::: CATASTROIKA.

And another brilliant project from Greece, a web doc series that dig into all cultural, socio-economic aspects of the country ::: 
THE PRISM
.

Enjoy.

Over the weekend I went over to check in my friend Ronnie…walking into his studio in Tribeca is like walking into a rainbow…instant joy.
Here’s what Ronnie’s world feels like ::: http://vimeo.com/16841815
On a different note, I loved Omar Amiray’s film “Love Aborted” that screened as part of Experimentation in Arab Cinema program at MOMA last week… a really interesting documentary from 1985 on relationships between men and women in Egypt.
At the DOC NYC Fest, I didn’t connect much with Werner Herzog’s philosophies in his conversation with David Edelstein (film critic of New York Magazine)… though he did admit there is a possibility that he looks at (in this case) Weisman and verite film through “tunnel” vision…David, brilliantly challenged Herzog a few times with his questions…leaving a somewhat speechless Herzog….
it reminded me how important it is to provide room for openness. 
Over the weekend I went over to check in my friend Ronnie…walking into his studio in Tribeca is like walking into a rainbow…instant joy.
Here’s what Ronnie’s world feels like ::: http://vimeo.com/16841815
On a different note, I loved Omar Amiray’s film “Love Aborted” that screened as part of Experimentation in Arab Cinema program at MOMA last week… a really interesting documentary from 1985 on relationships between men and women in Egypt.
At the DOC NYC Fest, I didn’t connect much with Werner Herzog’s philosophies in his conversation with David Edelstein (film critic of New York Magazine)… though he did admit there is a possibility that he looks at (in this case) Weisman and verite film through “tunnel” vision…David, brilliantly challenged Herzog a few times with his questions…leaving a somewhat speechless Herzog….
it reminded me how important it is to provide room for openness. 

Over the weekend I went over to check in my friend Ronnie…walking into his studio in Tribeca is like walking into a rainbow…instant joy.

Here’s what Ronnie’s world feels like ::: http://vimeo.com/16841815

On a different note, I loved Omar Amiray’s film “Love Aborted” that screened as part of Experimentation in Arab Cinema program at MOMA last week… a really interesting documentary from 1985 on relationships between men and women in Egypt.

At the DOC NYC Fest, I didn’t connect much with Werner Herzog’s philosophies in his conversation with David Edelstein (film critic of New York Magazine)… though he did admit there is a possibility that he looks at (in this case) Weisman and verite film through “tunnel” vision…David, brilliantly challenged Herzog a few times with his questions…leaving a somewhat speechless Herzog….

it reminded me how important it is to provide room for openness.