Experiencing Interruptions?

Here there and everywhere

A woman sits in a tram. A journey begins.
An extreme close-up of her eyelashes opens the image.
Little by little, the face dissolves into reflections, foliage, and fragments of light.
Between blinking and landscape, vision itself begins to drift.

  • Christophe Schaeffer
    Director
  • Christophe Schaeffer
    Writer
  • Christophe Schaeffer
    Producer
  • Project Type:
    Experimental
  • Runtime:
    5 minutes 4 seconds
  • Country of Origin:
    France
  • Country of Filming:
    France
  • Shooting Format:
    Digital 4K
  • Aspect Ratio:
    16:9
  • Film Color:
    Black & White and Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
  • Purple Sky International Film Festival
    Hamburg, Germany
    Germany
    June 4, 2025
    Selected - Best Experimental
Director Biography - Christophe Schaeffer

Christophe Schaeffer is a French multidisciplinary artist — writer, poet, philosopher (PhD), visual artist, and lighting designer. His work spans theatre, contemporary dance, visual arts, music, and cinema, exploring perception, time, and the fragile boundaries between image and presence.
Since 2022, he has developed a body of experimental films extending his research into moving images. His cinematic practice revolves around duration, slowness, and the vibration of reality, often using extreme slow motion, long focal lengths, and mobile phone cinematography.
His films have been presented in international festivals and artistic contexts, and pursue a form of poetic cinema of attention, where images remain inhabited by gesture, silence, and lived experience.

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Director Statement

Here, There and Everywhere begins at the threshold of perception. The film opens on an extreme close-up of a woman’s eyelashes. Not a face, not even a gaze — only the fragile boundary where vision begins.
A tram moves through the city. Yet what seems to be moving is less the world than the act of seeing itself.
Little by little, the figure fades. Foliage, reflections, and fragments of light emerge. The image no longer presents objects, but phenomena — subtle transformations in the visible.
What interested me was this passage from the intimate to the diffuse, from the human face to the surrounding world. The film follows no narrative. It simply observes how perception slowly shifts, how the world begins to appear differently once the figure dissolves.
From eyelashes to leaves, from blinking to light, the image drifts toward a form of presence that no longer belongs to a subject alone, but to the fragile emergence of the visible itself.