The young Indian director Sibi Sekar makes independent experimental films with enviable perseverance. Seeing the film «On Floating Bodies» we can understand that he is not going to stop but continue to explore the psychological depths of human consciousness and the unconscious.
The film has no plot and the viewer sees a video sequence on the screen, accompanied by music. By the way, the musical and sound accompaniment is very atmospheric and sets you up for philosophical reflections. The image refers to the paintings of Rembrandt, where a large place is occupied by a dark background. Periodically, we see the actor Uddish Pasupathy, who shares different thoughts with the viewer or performs some actions.
This film can be attributed not only to experimental cinema but also to video art. Here it is very difficult to understand what is happening on the screen in a rational way, so the viewers turn on their own subconscious. That is why every viewer will be able to see his own film.
In general, psychologists have proved that we perceive films through our own mental characteristics. In fact, the viewer projects his vision or even his complexes and neuroses on the screen. That is why “On Floating Bodies » is addressed not so much to the consciousness as to the subconscious of the viewer. The director uses abstract images and paintings in order for the viewers to create their own meanings. Just like in the previous film “Thoughts out of Season”, we can find here the references to writers and philosophers of the 20th century. The ideas and thoughts narrated by Sibi Sekar express the pessimism and frustration of humanity. The modern world is unstable, and age-old traditions and eternal values no longer work as before.
The film immerses you in a 20-minute meditation and helps you to temporarily detach yourself from reality. Abstract images and the absence of a linear plot allow the viewers to look deeper into themselves. Modern art cinema has long been working with images that are not connected to each other by cause and effect but are connected through editing. And it is thanks to the editing that seemingly meaningless images give rise to new meanings. In a sense, Sekar is a follower of Artavazd Peleshyan, who invented «distance montage», which changed the idea of cinema.
The essence of this method is that the director does not connect the frames that are close in meaning, but rather separates them. With this approach, editing is no longer a way of gluing frames for comfortable perception. Traditional editing is more appropriate for television and commercial movies. For cinema as visual art, editing is not a mean, but a goal.
In modern cinema, put on stream, the figure of the director has lost its former significance. Now producers and showrunners are at the top of the industry, and the director has become just a craftsman, an easily replaceable figure. Often it is the producers who make the final editing of the film. That is why cinema as an art currently exists in the ghetto under the name “independent cinema». It is here that the author’s statements and the search for a new film language are possible.