Your film is a beautiful and powerful account of a very violent experience. Why and how is it important for you to tell such a story in your own (artistic) terms?
Historically, narratives regarding violence are dictated by those in power & told in narrow parameters. It is important to express stories such as this one in more nebulous & open terms that give space to those who endure such an experience to frame it in their own way.
Can you share with us more about the process of making this film and the different cinematic and narrative techniques you have combined?
Splintering was developed from feelings of mental & physical isolation that often occur after living through violence. The film opens with a brief voice-over that provides context, followed by a combination of relatively static live-action shots to visually communicate an initial sense of paralysis & inertia. After several minutes of increasing tension, stop-motion animation is employed to invoke a sense of frenetic energy: domestic objects embody an increasing, excessive abundance of thoughts that build up & eventually break open, propelling re-entry into the world.
Why do you choose to work with photochemical film, which you hand-process?
The medium of photochemical film results in a tangible product that gives substantial weight to memory & thought-process. Translating a story from internal workings with archival material adds an additional level of symbolic legitimacy attached to the resulting physical film.
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