Money Time

"Each film is a new voyage. A voyage for me, and a voyage for the spectator. In contrast to the bright pop imagery of Logorama, I wanted Money Time to be an atmospheric crossing through unlimited space. To go from Technicolor to an almost barren world."

The concept was to create a film using traditional narrative and visual references to better skew them. What begins with fairy tale and cartoon conventions turns out to be devoid of any story or temporal orientation. A mute tragedy where nothing is seen or heard, which plays out against a disturbingly strange soundtrack.

The result is an exceedingly polar, deserted setting inhabited by overpowering machines. The only living beings in the film are three animals and snow-covered trees.

Immaculate snow and bears that have stepped right out of a Coca-Cola commercial are juxtaposed with streamlined missiles, protective cameras, controlling screens and reinforced doors that open and close. Everything is monumental and automatic.

Machines have replaced humans. Against a saturated, metallic soundtrack by Mirwais, the machines form an abstract, mechanical military-industrial ballet that almost seems symphonic.
In this no-man's-land, the project of a faceless über power - our society's overwhelming financialization - begins to take shape, and its only limit is space itself.

Money Time is a pictorial representation of the crushing power of money and financial systems. It is also an aesthetic, poetic and cinematographic fable.