Experiencing Interruptions?

I'm Afraid That's All We've Got Time For

Flirting with the notions of time, place and the idea of a film, the film starts with a story about a chance encounter that falls into romance in London. In the telling of the story, then, Paris becomes the catalyst for things to unravel, where we encounter the shadows of André Breton’s novel, Nadja (1928). An homage to both the 70s underground film scene in New York and the French New Wave, the film is an exercise for “remembrance of things passed”, dealing with notions of absence, memory and the absence of memory.

  • Lara Baksu
    Director
  • Lara Baksu
    Writer
  • Lara Baksu
    Producer
  • Madita Schrott
    Key Cast
  • Victor Mozzi
    Key Cast
  • Yvan Gradis
    Key Cast
  • Nick Sim
    Score
  • Eric Arnal
    Assistant
  • Kastania Waldmüller
    Assistant
  • Project Type:
    Experimental
  • Genres:
    Experimental, diaryfilm
  • Runtime:
    32 minutes 19 seconds
  • Completion Date:
    October 18, 2023
  • Production Budget:
    1,000 GBP
  • Country of Origin:
    United Kingdom
  • Country of Filming:
    United Kingdom
  • Language:
    English
  • Shooting Format:
    16mm, Super 8
  • Aspect Ratio:
    16:9
  • Film Color:
    Black & White and Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
  • Film Diary NYC III: Coldest Winter
    New York City
    United States
    January 24, 2024
  • "I'm Afraid That's All We've Got Time For" Screening, The Film Gallery
    Paris
    France
    November 23, 2023
  • UK Premiere
    London
    United Kingdom
    October 23, 2024
    UK Premiere
Director Biography - Lara Baksu

Lara Baksu, (b. in 2000, Istanbul), is an artist based in London. She uses poetry and text as the catalyst of her work ranging from film, performance, installation to sound. Drawing inspiration from personal experiences and daily life, Baksu uses diaristic methods to build her artistic language. Through diaries and “home-made” films, she plays with language to uncover emotional landscapes and the poetics of unsaying. Over the past year she has been doing sonic rituals incorporating poetry for radio shows based in London and has done international guest shows for radios in Paris, Budapest and Utrecht. More recently Baksu has been using her practice to explore her witch identity, focusing on the relationship between art and the occult, to build a bridge between the above and below. She has performed in places including Cafe OTO, IKLECTIK and San Mei Gallery and has shown her work through LUX, The One Minutes Institute and Taipei Contemporary Arts Centre.

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Director Statement

“I’m Afraid That’s All We’ve Got Time For gazes across the tables of London and Paris. In Paris, they are worn like an exoskeleton, where they hang off the edges of its pavements; they are tables in action, exposed to the volatility and fuss of daily life. London protects its tables, like the ones in those hallucinatory stills of the BFI. The mediating effect of the windows promises the sheltered interiority that Londoners long for - a means to privacy. But in this film, the table also is a narrative space, it inverts LeGuin's carrier bag in that the contents of the bag are emptied out onto it - as though we are searching for something we lost inside.

Baksu’s narrative begins as a way of holding things together in relation, as LeGuin describes. But continues to cross distance, spilling out from the point at which the relation(ship) ends. The table is the horizontal surface against which things (the film, the cards, the texts) can be read, the flatness which contextualises their disorder - like the film editor's table from which things can be cut. In this light, it is also stable in that it maintains its syntactic composition in both English (the table) and in French (la table).

Baksu leaves space in the film to orient us towards these serendipitous inconsistencies. The tripartite mumblings of the image, voice and text, hurtle through the film's temporal constraint, squared out neatly by the score by Nick Sim, without ever really being sure of what they each mean to the other, but anticipating that at some point meaning will emerge as part of (or apart from) the story.”

Christine Kirubi, Lecturer in Fine Art, Slade School of Fine Art, UCL.