Consisting of a series of static shots emptied of all living presence, The Great Void looks without blinking, no more, no less, at the agony of our civilisation.
Strung between a majestic landscape of wide-angle black and white shots and the impurity of a composite universe of sound, POSTCARDS FROM THE VERGE unfolds in five chapters as a sensory and abstract study of the Wall and the Israeli-Palestinian conflict.
At first calm, even dreamy, the film takes the viewer into the quiet of the seaside and undersea landscape somewhere in Italy. They are soon shaken awake from these blissful images by footage of traces of today's global industrial world, as an increasing part of the sea is polluted by wastewater from factories, destroying the natural beauty.
Phoebe Phaidon works as a climatologist at an institute of cybernetics which is about to be shut down. So there has to be a solution in the form of a successful evaluation. The strategy consultants now work against the student movement in a virtual reality. Turmoils start.
On the first day of the Corona lockdown, the director‘s father is picked up by an ambulance. He dies shortly thereafter. Mother and daughter mourn in the parental apartment, isolated on 49 square meters — and connected to the outside world only by telephone. With painful intimacy, these phone calls exemplify the loneliness of the mourners in pandemic times. Photographic images of the desolate apartment are marked by an intense geometric strictness, which, in spite of the confinement, also creates a certain distance to the inevitable. “27 STEPS“ thus leaves room for interpretation and deals with a universal question: How does isolation affect us when we are dependent on solace and help? This is a very personal film which puts a magnifying glass on the circumstances that we are all experiencing right now.
