Endlessnessism

(12 mins, 16mm, 2021, Australia)

Endlessnessism is a 16mm experimental short about two friends who play a game where each rule prescribes them to act out their most violent and perverse private fantasies.

  • Liam Clark
    Director
  • Liam Clark
    Writer
  • Amelia Crawford
    Producer
  • Dylan Julian Clark
    Key Cast
    "Ezra"
  • Avril Tait
    Key Cast
    "Charlotte"
  • Ian Tyley
    Director Of Photography
  • Gene Clark
    Composer
  • Liam Clark
    Composer
  • Rowan Yeomans
    Sound Supervisor
  • Liam Clark
    Editor
  • Olivia dodd
    Production Design
  • Project Type:
    Student
  • Runtime:
    12 minutes 16 seconds
  • Completion Date:
    May 6, 2021
  • Production Budget:
    14,000 AUD
  • Country of Origin:
    Australia
  • Country of Filming:
    Australia
  • Language:
    English
  • Shooting Format:
    16mm
  • Aspect Ratio:
    2.35:1
  • Film Color:
    Color
  • First-time Filmmaker:
    No
  • Student Project:
    Yes - Australian Film Television and Radio School
Director Biography - Liam Clark

Liam Clark is a Sydney-based filmmaker who has completed a Masters of Research in French Literature and Post-Structuralist Philosophy, and recently finished a Master of Arts Screen: Editing at the Australian Film Television and Radio School (AFTRS). He has written and directed multifarious short films and music videos and has a book of poetry published. His last short film ‘Love and the Demonic Psyche’ premiered at the Austin Arthouse Film Fest and went on to play around the United States and Europe. Liam’s latest film is ‘Endlessnessism’ which was shot on 16mm and loosely inspired by the life and art of Australian artist Brett Whiteley.

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Director Statement

'Endlessnessism' incorporates the use of scratched and hand painted 16mm film to give texture and depth to the images prior to digitising. To explore the notion of cinema as a bodily extension and in an attempt to arise out of some total area of being or full life, direct physical engagement with the medium was employed to achieve the organs possibilities as a physical continuation.

Droplets of blood and semen were applied along the frames with a clear film leader on top, then re-photographed - the results produced corporeal impressionistic frames that are flickered throughout the film.

With elements of Structural Film, I also appropriated Gysin’s and Burroughs ‘Dreamachine’ to create a flicker sequence in the vein of Tony Conrad and Paul Sharits.