The meaning
of a haiku lies in its concision, and its beauty lies in the clarity of that
concision. Lens Rebel, an independent
production house based in Singapore, comprising director/cinematographer Dagomir Kaszlikowski
and screenwriter/producer Suhas Bhat, sets out to discover cinematically how a
film could tackle the constraints of precision through body language and acting
skills, in the form of haikus.
Lens Rebel, a very unique filmmaking group, actively
makes haikus on a bi-weekly basis and they have made six movies in this form in
2014. They can be viewed on the playlist "Haikus
of Murder & Revenge".
This portfolio of haiku-based films
are inspired by themes of murder and revenge remniscent of the revenge
trilogies of Old Boy, played to the
soundtrack of a Godfather film. They
are filled with blood, the beauty and pleasurability of the moment, and tinted
with the noirish aesthetic of the
cigarette. There is a promising allure of sensuality and deadbeat pulsating
tensions in these films, which promise in the imagination a vignette that leads
to something more. Furthermore, these films are foregrounded in the cityscape
of Singapore, which lend them a more surrealistic feel, as you have a
multinational cast performing to the background of a contemporary modernscape.
Somehow, the temporal zones of the film noir aesthetic and Singapore in 2014
seem to complement each other brilliantly.
All that darkness, I suppose, is meant
to transport our imaginations to a place of rumination about what human
relationships could be if they were inspired by strife, by longing, and by a
desire to severe in the most brutal and melodramatic of fashions: murder.
Lens Rebel, with its very visceral-inspired visual montages, not afraid to exist solely in the realm of a dreamic vision, is certainly a group to watch. And their films have done some travelling as well. Abroad, a 21-minute experimental short film about the harrowing experience of a foreigner as he moves to a new country, has been nominated for the Best International Short Film category at the Bare Bones International Independent Film & Music Festival and was screened recently at the Red Dirt International Film Festival.
SINDIE talks to Lens Rebels to understand their key
inspirations and aspirations.
1. How would you describe the key stylistic
aesthetic of your films? What is the striking aesthetic you are trying to
achieve?
We choose a stylistic aesthetic that
suits the mood of the movie that we make! We especially like the look of films
from the 1970s as there were deep, rich colours and hues.
Director Dagomir Kaszlikowski started
filmmaking in the 8mm format so a lot of his influences come from that era. He
especially likes to utilise close-ups that clearly illuminate the transitions
of various emotions within his actors.
Sean Guttensohn
in Haiku #4 - When She Says Goodbye
2. Interested in the prototype of the
female character in Veronica and Gwei Lo. Are you going for an oriental femme
fetale portrayal? Why?
We think that not enough oriental
characters are showcased in mainstream movies. In general, we like female
characters, especially Asian ones, as they invariably have a mysterious quality
in their faces that the camera loves.
But we're striving to break away from
the compliant, submissive characters from the past as times are changing and it
is the 21st century. We like our female characters to take charge!
3. You describe yourself as an indie
production house. What would you define as the genre of indie which you are
trying to promote?
Good movies. Even without a significant
budget, we strive to make movies with strong visuals, focused cinematography
and great acting. We make it a point to ensure that the visual narrative is
emphasised as well as the traditional forms of narrative - story, dialogue
etc.
We've made shorts in the sci-fi,
supernatural, drama, film noir genres so we're going far and wide on this
cinematic journey.
Dagomir
Kaszlikowski and Paweł Kurzyński in Haiku #6 - Smokin' Kills
4. You seem to like casting foreigners
in your films. Any input on how the addition of these characters alter the tone
of the film? What are you trying to achieve?
Well, because they came down for the
audition and won the part! We operate on a meritocratic basis and believe that
the cross-national diversity within Singapore can become a key asset for the
film industry.
5. Where do they see Lens Rebels 5 years from now?
Making movies. We do what we do
because we love it. We don't think about practical aspects like churning out a
profit or appealing to a target audience.
We hope to work with a group of people
who trust us and participate in making movies together.
Lens Rebels is currently finishing
post-production for Don't Hang Up, My Love, a 30-minute short
film about love and loneliness in a big metropolis. It features four
Singaporean actors and the scenes were shot in Tokyo and Singapore - the
trailer can be viewed on YouTube here.
For any further information on this
filmmaking group, you can check out their website
and facebook page.