Gad Hollander

Sara is led by her grandfather through the mise-en-scene of a film being shot in ltaly. The landscape in which they walk is the film's plot, masquerading as a state of mind, Its sub-plot woven in with a selection of Bach's Goldberg Variations. The young girl sights Venus strolling through these landscapes, an ‘agent provocateur’ from the country of myth. A filmmaker, In whose imagination this plot is unraveling, approaches a group of producers to fund his film "Aphrodite". The film begins to shift back and forth between archaic and modern notions of myth, highlighting the distinctions between myth and story and the relationships between history and biography.

Internal monologue of the presumed narrator is externalised in the corpse of a suicide, addressing his own self, whose stories obsessively revolve around his sensual desires: to touch, to speak. In a series of anecdotes we glimpse the life of a solitary figure, a writer whose overwhelming desire – to see through a voice – remains unquenched, and whose perspective on that desire ("I open the window I confront the sky") is through death.

A classic 1987 remake of Euripidies' adaptation of classic greek mythology Medea, incoporating home-movie footage not seen since 406 B.C.

Sara is led by her grandfather through the mise-en-scene of a film being shot in ltaly. The landscape in which they walk is the film's plot, masquerading as a state of mind, Its sub-plot woven in with a selection of Bach's Goldberg Variations. The young girl sights Venus strolling through these landscapes, an ‘agent provocateur’ from the country of myth. A filmmaker, In whose imagination this plot is unraveling, approaches a group of producers to fund his film "Aphrodite". The film begins to shift back and forth between archaic and modern notions of myth, highlighting the distinctions between myth and story and the relationships between history and biography.

Internal monologue of the presumed narrator is externalised in the corpse of a suicide, addressing his own self, whose stories obsessively revolve around his sensual desires: to touch, to speak. In a series of anecdotes we glimpse the life of a solitary figure, a writer whose overwhelming desire – to see through a voice – remains unquenched, and whose perspective on that desire ("I open the window I confront the sky") is through death.