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© 2016 by Bucharest ShortCut CineFest. All rights reserved.

FILM REVIEW

'MOTHERSHIP'
- Directed by Dickon Bevan -

This short film is a meditation on nature and the human body.

“Mothership” is composed of Super 8 camera footage and effect. The superimpositions using the already grained, blurred and shaky images build a dreamy effect, emphasized by the low tuned music and sharp editing cuts. The audience gets the impression of following the stream of subconscious images from the mind of a person that is sleeping.

The film  contains  images of  nature, but the human body seems to be its central motif.  Its depictions could suggest the many aspects of human condition. A serene shot showing man swimming in the water of a lake at evening encapsulates the idea of the primordial connection between humans and their natural surroundings. We also observe in a double-exposed sequence a samurai performing a ritual in a temple. Another brief segment contains the training of a body builder. But the central image is that of a body being scanned by a MRI machine. The human body is shown in its complete vulnerability, naked and investigated by a machine.

The author seems to have found his inspiration in the experimental filmmaking of the 60’s, especially in the works of Stan Brakhage, whose films were appreciated for their lyricism and fluency. He called his films “visual music” or “moving visual thinking”, terms that can be attributed to “Mothership”.

Experimental filmmaking means self-discovery for the emerging video artist and some of the most appreciated directors of the international industry started with this type of cinema, which allowed them to ditch the restrictions of narrative cinema and try different forms of expression, in order to find the suitable ones for them and later build an unique visual style.

“Mothership” is a lyrical cinematic experience and while many interpretations can be attributed to the images but we believe their most important function is returns the original characteristics of the medium of film, to its elemental origins of "vision and movement", as Rene Claire used to call them. It is a piece of “Cinema pur” that explores the medium of film, not the surrounding world using the medium of film.