Pandora

«Pandora» is in many ways similar to an essay; questioning a series of thought experiments and philosophical concepts such as the absurd, reality, color perception, solitude, and communication in an overly connected society.

The story is about a character fighting her way out of a depressive state of mind, focusing on the importance of internal reconnection and self-acceptance, leading to recovery.

Based on the quantum theory of the multiverse, it suggests the possible existence of an infinite number of alternates timelines, which all include one different version of ourselves. Depending on our choices in a given quantum reality, this creates some other possible dimensions, which rely on the number of possible outcomes while making a decision.
Thus, due to the dual nature of quantum physics, we are both at our highest and lowest point in life, at the same moment. In other words, and to quote Erwin Schrödinger in his 1935 thought experiment: «the cat is both dead and alive.»

The Cosmonaut is an allegorical character representing the expansion of consciousness and the desire to discover new horizons, beyond our everyday reality. In an altruistic, yet selfish attempt, the Cosmonaut, sacrifices her last breath to connect with the Woman through the cube, bringing to her most miserable self: light and perspective. It is only a the end of the film that we see the Cosmonaut and the Woman as being the same person, suggesting an inner peace, acceptance, and stability through a metaphysical embodiment of self-help.

Moreover, the editing’s rhythm suggests obvious parallelism between the Woman and the Cosmonaut, presenting the former like a metaphorical embodiment of how the Woman truly feels on Earth: disconnected from human contact and wandering around in a world hostile to her condition.

In Greek mythology, Pandora was the first human Woman created by the gods.
While the symbolism of the cube is relatively straightforward, the story is also very much concerned with the idea of birth and rebirth. The opening sequence stands as a symbol of fecundity; a celestial body gives birth to Earth and ultimately the Sun.
The light of knowledge shines on the characters throughout the story, but takes on two different forms: artificial and natural. Before the transition to color in the world of the Woman, every source of light is artificial, either coming from a cell phone, a neon sign, or a light bulb. However, on the moon and as soon as the Woman enters this world of colors, the Sun becomes the primary source of light.

One of the cornerstones of the story is the transition from black and white to colors, leading to the actual discovery of colors by the main character. Inspired by a thought experiment proposed in 1982 by Frank Jackson, the world in which the Woman evolves is deprived of colors.
As a matter of fact, she has never experienced any of them before. What the Woman will go through in the motel room will stick to her for the rest of her life. This visual representation of hope will remain with her like a nostalgic memory of a time when she felt the tide turn.

Even though the motel room and the use of light are closely related to Plato’s allegory of the cave, depicting this story on Super 8 film with its unique vibrant, grainy and organic texture, genuinely gives a whole new perspective to the allegory.
Indeed, analog film format is the purest way to depict reality, as the values of light are not converted into binary data to create an image, but instead, are transformed into silver grains.
Ultimately, the goal is to give the audience an intense visual and visceral experience.

Like the prisoners in the cave, the viewers will unconsciously become part of an open reflection and experiment about the perception of reality; having the film become alive, feeling its omniscient breath throughout the story and how the symbols and questions raised through the story will impact the viewer.