Private Project

Inferno 3.0 (Work in Progress)

Inferno 3.0 is an experimental short film that reinterprets Dante’s Inferno through a contemporary audiovisual language. Structured in loosely connected chapters, the film moves through nine states of human existence, addressing themes such as moral ambiguity, power, consumption, control, and collective indifference.

Rejecting classical narration and dialogue, the film unfolds as an immersive sequence of generative images, algorithmic motion, and abstract spaces. Rather than illustrating a story, Inferno 3.0 invites the viewer to experience a system of tensions and transformations. Hell is not depicted as a mythological place, but as a condition emerging from human behavior and societal structures.

Currently in production, Inferno 3.0 will be completed by the end of February. Conceived as an open and sensorial work, the film aims to confront the audience with visual states that provoke reflection on responsibility, freedom, and the present moment.

  • Jürgen Leufgen
    Director
  • Jürgen Leufgen
    Writer
  • Jürgen Leufgen
    Producer
  • Project Type:
    Experimental
  • Runtime:
    3 minutes 56 seconds
  • Film Color:
    Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
  • Digital Cinema Package:
    Unavailable
Director Biography - Jürgen Leufgen

I studied computer science with a focus on linguistics, neural networks, and artificial intelligence. After graduation, I worked as an IT manager and cloud automation architect in international companies.

Inferno 3.0 is an experimental short film currently in production. Building on my previous work, the project continues an exploration of poetic, non-linear storytelling through generative imagery and algorithmic motion. The film reflects my ongoing interest in digital aesthetics, artificial intelligence, and existential questions, translating classical references into a contemporary audiovisual language.

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Director Statement

Inferno 3.0 is part of an ongoing artistic exploration that examines how classical narratives can be reinterpreted through contemporary digital processes. Inspired by Dante’s Inferno, the film does not seek to retell a story, but to translate states of human existence into visual and temporal experiences. For me, hell is not a place, but a condition—one that emerges from systems we create, inhabit, and often fail to question.

The film is shaped by generative imagery, algorithmic motion, and abstraction rather than traditional dramaturgy. I am interested in how technology can function as a poetic tool: not as a spectacle, but as a means to reveal patterns of repetition, acceleration, and loss of orientation. Artificial intelligence and procedural systems are not used to simulate reality, but to distort it, exposing underlying tensions and contradictions.

Inferno 3.0 is conceived as an open work. Meaning is not fixed, and interpretation is left to the viewer. By avoiding clear narrative guidance, the film invites a form of contemplation rather than consumption—an encounter with images that reflect responsibility, power, and the fragile boundaries between control and chaos in the present moment.