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Deeply Absurd Lucidity

A man trapped in a limbo of absurd and randomly projected visions that seem to be driven by an obscure shapeshifter who has hacked into his mental and emotional intelligence.

 

 

Sammy Sayed: Director
Sammy Sayed: Writer
Medrar for Contemporary Art: Producer
Danish Egyptian Dialogue Institute (DEDI): Producer
Sammy Sayed: Key Cast
Maiam: Key Cast
Mena El Shazly: Key Cast
Rukia: Key Cast
Saber: Key Cast
Amr Diab: Key Cast
Omar Abou Doma: Director of Photography
Valeria Misko: Additional Footage
Sherif Sharkawy: Additional Footage
Mena El Shazly: Additional Footage
Mahmoud Eissa: Line Producer
Mostafa Ezzat: Camera Operators
Marwan Zakaria: Camera Operators
Amr Diab: Lighting Technicians
Saber: Lighting Technicians
Ahmed Ezzat: Film Editor
Mohamed El Sherbieny: Film Editor
Mohamed El Sherbieny: Visual Effects
Mohamed El Sherbieny: Color Grading
Sammy Sayed: Music composer
Sammy Sayed: Sound Design
Ahmad Kubbara: Sound recordist and mixing

 

Project Title (Original Language): وضوح سخيف عميق‎
Film Type: Experimental, Short, Other
Genres: Surreal Humor, Avant Garde
Runtime: 8 minutes
Completion Date: January 21, 2018
Country of Origin: Egypt
Country of Filming: Egypt, Germany
Film Language: Arabic, English, Hebrew
Shooting Format: Digital Cinema
Film Color: Color

 

Director Statement:
I wanted to create a film that is viewed from a different perspective and approach than what is aesthetically normal. Creating an atmosphere of uncertainty, tension, and dark surreal humor through grinding and fast information that is metaphorically symbolic to history, knowledge, and culture programmed into the protagonist’s mind and emotional intelligence. All these information aren’t necessarily absolutely true and could be a perversion of information on the internet where we mostly and easily get our information from. The web is an easy medium that most of the information in our modern world comes from, basically through google search engines.

The film creates confusion and corruption in language, majorly and especially between English subtitles and Arabic spoken or written language as a way to express the complexity of the unconscious and conscious mind perception, especially to anyone who actually knows both languages, such as the protagonist. In the same time, this corruption in language is also somehow meant to express that any reality or information can have different meanings if we look with the mind’s eye and beyond just language, and this is all depending mostly on the way we perceive and understand what we see.

The image most of the time is projected in a fast and chaotically ordered way that is pretty hard to follow, with a large amount of different layered information put into it. All these dualities and contradicting / counteractive / conflicting / confusing layers of information and meanings in the image whether it be the mistranslated subtitles or the unusual approach in video editing and VFX, it is all meant to create the effect of an alien abduction and/or seeing from the perspective of an alien entity that is hacking / possessing or uniting with the protagonist. The film as a whole is meant to be a metaphoric expression of the process of that encounter, it is meant to make the audience see from the different complex and alien perspective.

The film has also a great deal of symbolism that may refer to how the protagonist is affected by different yet still related energies and subjects such as war, religion, mysticism, history, information on the web, his childhood, love & fear, authority, life & death, hunger, lust, tradition, culture, the past, the present and the future, surveillance, freedom & enslavement. All these subjects are popping up in the film in a merely compressed way making it an overwhelming journey in a short period of time. I tried to create that unusual effect, the effect of a visionary dream / an alien abduction / an encounter with an intelligent trickster force / a journey between pain and serenity / a hallucinogenic trip that unlocks the unconscious and darkened waste in the mind / occult and mystical knowledge / ignorance and the obvious negativity in animal cruelty and the lack of empathy. Yet again all these information shouldn’t be necessarily right and / or wrong, but it is merely what is in the mind of the protagonist and merely it is what the antagonist may be shuffling around for us to see.

In short terms the film can be seen as a surreal dream that has so many information stacked into it, or has no meaning at all. we all had complex dreams before, and I tried to express what is in the emotional intelligence and mind of the protagonist in the image, I tried to capture that dream into a film. Dreams could have so many interpretations, and I believe that my film just as dreams, could be interpreted in many different ways, and I would actually and honestly say that what I am writing here in this statement is yet my own personal interpretation, even though I am the filmmaker and the main character too.

Thank You!
Sammy Sayed

 

© Deeply Absurd Lucidity – All rights reserved.

 

 

More films at the First Hermetic Film Festival 2018:

 

Tau, the daemon and the city

Tau is, at once, a fiction film on spirits, a documentary on the passing of time in a small town and a portrait of Catalan traditional culture.

An immaterial being talks us through the streets of a coastal town. Moving between people’s feelings, dreams, and mindscapes, the spirit relentlessly looks for his double among the city inhabitants.

Tau is a docu-fiction portrait of a city, Tarragona, as seen through the “eyes” of a daemon who dwells in a parallel, and yet close to ours, reality. The story takes place somewhere between the contemporary world and the ancient times of myths, spirits, and daemons. The film also explores cultural archetypes showing the eternal conflict between centralized and decentralized structures, between pyramids and networks.

 

 

Gerard Gil: Director
Gerard Gil: Writer
Gerard Gil: Producer

 

Project Title (Original Language): Tau, la ciutat i el daimon
Film Type: Documentary, Experimental, Feature
Genres: docu-fiction, fiction documentary
Runtime: 2 hours 3 minutes 33 seconds
Completion Date: December 1, 2017
Country of Origin: Spain
Country of Filming: Spain
Film Language: Catalan
Shooting Format: DVCam
Film Color: Color

 

Director Statement:
The idea for “Tau, the daemon and the city” came at the time I was working as a cameraman for tv. I was often sent to record images of certain programmes. Sometimes it was a contest, sometimes news or cultural events; and, many times, while I was filming those “commissioned images”, I noticed, around me, other images that were much more interesting than the ones I was supposed to take. I soon realized that this was not a rare occurrence and that, in fact, every time one spends enough time, it doesn’t matter where, if one is patient, valuable images show up. I recalled VictoThere are saying: “There are things that time doesn’t give you if you can’t wait”. I decided to put this assumption to practice and It soon came to me that I should make a film about my hometown. And, since I needed some departure point, I decided to capture an annual cycle.

I kept going out to the streets regularly with the camera, looking for the images reality had to offer. It took more than one year, but gradually I filmed less and less. Finally, in 2017, watching some of the raw footage after having long forgotten about it, I noticed that the images already looked old, that my city had changed and that technology had evolved too. My old camcorder didn’t work properly anymore and I would better hurry to capture all those tapes if I didn’t want them to disappear in the drawer of abandoned projects and obsolete technologies.

An image says a lot about an eye, and this is true in the same measure for creators and viewers. I can say I feel the images in this film as a personal process (even if I was possessed by the daemon when I filmed them) and I can perfectly recall the total fusion with the present that I experienced shooting each one of them. As to the voice over text, it was fully dictated to me by the daemon after a reading of Plotinus’ Enneads. It’s hard to say whether we have ideas or ideas have us. Sometimes I feel as if the spirit has abandoned me and I miss him (or her), but on other occasions, I’m not sure of where my thoughts end and where the daemons begin.

Gerard Gil,
March 24th, 2017

 

© Tau, the daemon and the city – All rights reserved.

 

 

More films at the First Hermetic Film Festival 2018:

 

Hermetica Komhata HK320

From 1941 to 1943, Dr. Joseph H. Stanislaw produced a science fiction film with which he intended to disclose his theories and research concerning the study of the influence of cosmic emanations on the human mind, through his experiments with a film of Ectoplasmic sensitivity.
The story of this unique scientist and his unreleased film (Sadly destroyed by Soviet authorities during the siege of Leningrad )
It seemed lost forever …
Until 1965 when some of the most important pieces of his invaluable legacy were found in the depository of Kresty prison. Now at last, after a painstaking restoration, and thanks to the magic of cinema’s science,
We are going to travel into a utopian world where all his theories have been implemented.

 

 

Ricardo Salvador: Director
Erik Alexander Wilson: Director of Photography

 

Film Type: Feature
Genres: Sci-fi, experimental, Surreal, metaphysical
Runtime: 1 hour 32 minutes 19 seconds
Completion Date: September 18, 2016
Country of Origin: Spain
Country of Filming: Spain
Film Language: English, Spanish
Shooting Format: S 16 mm
Film Color: Black & White and Color

 

Director Statement:
Ric Salvador is passionate about metaphysics, mysticism, kabbala, spiritism … and uses the genre of Science Fiction / Terror in an underground and experimental way, to transmute within his films, transcendental and pseudo-scientific themes into a unique amalgam of cinematic techniques and manipulation.

 

© Hermetica Komhata HK320 – All rights reserved.

 

 

More films at the First Hermetic Film Festival 2018: