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Film
Erik Satie’s work is at the heart of modern music. However, who was Satie? An elusive genius or a visionary misanthrope? The film tries to sketch an identikit of the musician through his notes and the places he lived in. Musicologists mostly agree in describing Satie’s music as inhabited by voids and holes. The long pauses between one musical passage and the other are musical structures unto themselves; therefore, the filmmakers create a dissonant Satie-like universe in which empty spaces are adjacent to eloquent passages. Like a mysterious flower visible only to the eye that is willing to dance with its charm, the film unfolds little by little through mental associations and creative juxtapositions. There are no answers in the universe inhabited by the ghosts of Satie’s creations. Architectural forms and recollections from desires and acts of creative hubris compete to create a new world, which ultimately is the image of a new and more seductive pleasure principle.
Satan Satie (2016 )
Film
Vilnius is a city of notable historical heritage and unique character currently undergoing considerable changes. Some of the life fragments our camera has recorded are no more. The film, therefore, is a testimony to that which has faded into oblivion, and a glimpse into what is to come.
Once Upon a Vilnius (2022 )
Film
Men still have a privileged position. Yet the concept of a “crisis of masculinity” is increasingly permeating the media, with a loosening of roles and a growing uncertainty about what it means to be a man today. The director Jan Hušek also asks this question. He was still wetting himself by the age of thirteen, which earned him the unflattering nickname that is the film's title. In his open video diary, he captures the physical and spiritual transformation of his journey from boy to man. He returns to the woods and the roots of his childhood trauma. In doing so, he turns the camera on himself as well as on various teachers or his father. Perhaps the mark of adulthood, after all, is not overwrought masculinity, but the acceptance of his inner “pisspants”.
Bedwetter (2023 )