I wanted my first film to be somehow personal.
I don’t believe life always has a resolution for you. Especially when you live in a country like China. Things you set out to do or problem you set out to solve, don't always have a solution in the end.
"The Newspaperman," by its own admission, "...maybe the best example of what journalists can accomplish when given resources and encouraged to shoot for excellence."
You can be in the best physical condition, but if you cannot fund the expedition, you will stay home. You can have the best logistics on the starting line, if you are not physically prepared to survive in Antarctica, you will likely be home sooner than expected.
I wanted his works to take the foreground but found myself having to create a few visual motifs for some of the music compositions so I tried to make visuals that are more abstract and open-ended that wouldn’t take the viewer’s focus off the music but might give them some subtext for the composition.
The film balances Calatrava as artist, architect, and engineer. But, most importantly, asks more questions than leaves answers. Is enigma a part of the art? Must we inhabit something in order to create it? What is it to find our own language, independent from schools or tendencies?
After an accident report obliges Luna to watch old security footage, she notices that Diego secretly likes to dance when he thinks nobody is watching, instigating a series of the two making pseudo-dance videos for each other to watch on the security camera, which they access through the use of the titular timecode.