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In the forest. An imperceptible but irresistible aspiration after nothingness, real back cloth of the electronic picture, just like Being is. A wide open and minimalist meditation about the nature of contemplative looking.

  • Elileon
  • Elileon Films
  • Project Title (Original Language):
  • Project Type:
    Experimental, Short, Other
  • Runtime:
    8 minutes 5 seconds
  • Completion Date:
    October 1, 2002
  • Production Budget:
    0 EUR
  • Country of Origin:
  • Country of Filming:
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  • Aspect Ratio:
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  • First-time Filmmaker:
  • Student Project:
Director Biography - Elileon

Elileon's artistic project emerged in the second half of the 90s, at the end of training oriented towards cinema and television, enriched by numerous personal experiments in super 8mm and video. For him, it's about to explore the working on moving images in their fundamental graphic and rhythmic dimensions. The goal is to construct poetic and singular film objects, nourished by the representations carried by the images but immediately going beyond a simple media function.

Between 1995 and 1999, Elileon begins the production of a “video-poetic” trilogy. Each of the three films was constructed at its own pace and according to its own logic, depending on the film material used and the feelings of the artist. A long-term work, the complete trilogy, entitled GAZES-TIME, was published in 2020, with the completion of the last part. In 2023, Elileon contributes to the creation of the Elileon Films association, dedicated to the production and distribution of art films.

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Director Statement

IN THE FOREST is the central part of the GAZES-TIME video trilogy, through which I wish to recount of different contemplative attitudes linked to feelings of loss, separation and dereliction. These are three poetic and meditative studies on the sight and its ability to isolate living beings in their subjective perception of the world. The three videos have in common to consider, on the one hand, the sight as a fundamental agent in the separation of living beings from the world, as an expression of an impotent wish to resist the passage of time, as a source of suffering and anxiety and, on the other hand, as a privileged instrument of aesthetic enjoyment and intimate contact with the world, life (and God?), through the conscious perception of its light and its movement.