Everyday states of being and decay are observed through the infinite scope of the cosmos and the restorative light which emanates from it, driving cinematic and photographic impulses.
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Everyday states of being and decay are observed through the infinite scope of the cosmos and the restorative light which emanates from it, driving cinematic and photographic impulses.
At the centre of this film is a Sri Lankan woman accessing other places in digital form, while situated in her own physical reality. Navigating through a multitude of spaces from the natural world to man-made environments as well as virtual planes, traditional relationships between the creator, the tool, and the subject are questioned, shattered and reconstructed.
The condition of distance, genetic to the ethnographic image, traces the elusive qualities of Samarasinghe’s mother’s past and persona as a woman of partial Chinese heritage.
Shot improvisationally in 2010, shortly after the end of the Sri Lankan civil war, this film takes a lyrical approach to examining recent history and the process of reconstruction in the post-war era. The visions of an exile are carried through an immoral silence, to an end both dubious and bittersweet.
A silent poem reflecting on the place of the filmmaker’s mother’s birth and her first traces on earth. A generational portrait of South Asian “makers” becomes a perceptual voyage into memory, experience, and touch.
In a small and remote hamlet, a young girl develops a curious friendship with a spirit who lives in an abandoned house. The Eyes of Summer was shot in Samarasinghe’s mother’s village in Southern Sri Lanka—shortly after the civil war in 2010.
At the centre of this film is a Sri Lankan woman accessing other places in digital form, while situated in her own physical reality. Navigating through a multitude of spaces from the natural world to man-made environments as well as virtual planes, traditional relationships between the creator, the tool, and the subject are questioned, shattered and reconstructed.
Two people mourn an unsaid tragedy in this silent and improvised play in cinematic narrativity and melodrama, telling an elegiac tale in portraiture. In looking at narrative cinematic storytelling, this piece also examines the devices of power and control embedded into that form and tradition.
Everyday states of being and decay are observed through the infinite scope of the cosmos and the restorative light which emanates from it, driving cinematic and photographic impulses.
A paean to Kenneth Anger, this film depicts a short procession of colourful material and a mysterious woman lit by the sun.