The Time of Objects
In a room where time seems to have stopped, old objects come to life with voice, texture, and soul. Amid the silence of things, the short film unfolds as a poetic metaphor for ageism and the quiet forgetting of the elderly in contemporary society.
With no human characters on screen, The Time of Objects invites
viewers to reflect on the value of what — or who — is cast aside, despite carrying stories, scars, and deep meaning.
A film that turns memory into presence, and absence into a quiet act of resistance.
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MARCELLO BORGES BARBUSCIDirector
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MARCELLO BORGES BARBUSCIWriter
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MARCELLO BORGES BARBUSCIProducer
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MARCELLO BORGES BARBUSCICinematography
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John C CristianColor Grading
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Project Title (Original Language):O Tempo dos Objetos
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Project Type:Experimental, Short
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Genres:Film / Video, Short, Experimental, Drama
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Runtime:3 minutes 45 seconds
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Completion Date:December 19, 2025
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Country of Origin:Brazil
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Country of Filming:Brazil
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Language:Portuguese
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Shooting Format:Digital
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Aspect Ratio:2.39:1
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Film Color:Color
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First-time Filmmaker:No
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Student Project:No
Marcello Barbusci is a Brazilian documentary filmmaker and cinematographer whose work is grounded in a simple principle: real stories only gain meaning when approached with depth, care, and attentive listening.
He built his career working internationally on projects for brands such as Credit Suisse, ING, Coca-Cola, Green Building Council, and Aputure, collaborating with agencies including The Goat Agency (UK) and Cliple (France). He has also worked as an official photographer for the Dutch Royal Family and served as a global brand ambassador for Fujifilm — experiences that shaped his technical precision, visual sensibility, and human-centered approach to storytelling.
Barbusci directed the award-winning short film If Nothing Changes, selected by the Lift-Off Global Network and screened at Pinewood Studios (UK). In 2025, one of his experimental films created using artificial intelligence was exhibited across the European art circuit.
He currently leads MB68 StoryLab, where he develops documentaries and cinematic projects focused on memory, identity, and transformation. His recent work continues to explore the relationship between people, time, and place through visually driven narratives rooted in emotional truth.
The Time of Objects was born from a quiet observation: objects often remain long after people are no longer seen, heard, or remembered. I was interested in what happens when presence fades, but traces remain.
By removing human characters from the frame, I chose to let objects carry the weight of memory. Scratches, wear, dust, and silence become narrative elements — not as nostalgia, but as evidence of time passing without witnesses.
This film is not about objects themselves, but about what society chooses to overlook. Aging, invisibility, and abandonment are rarely loud processes; they unfold slowly, almost imperceptibly. I wanted the film to respect that silence rather than explain it.
My intention was to create a space where the viewer could listen, reflect, and project their own experiences onto what is no longer used, touched, or remembered. In this sense, The Time of Objects is less a story to be understood and more an experience to be felt.