Filip Gołdanowski

Part seven of cycle "The Requiem Films". “I imagine that almost everyone who has come across this piece is familiar with the phrase ‘in illo tempore’. In illo tempore—in that time. […] Let’s pause for a moment on ‘tempore’. Let’s consider, as laypeople might, what part of the original phrase this is. Of course, it is technically ‘time.’ [..] When an extra letter ‘a’ appeared in my mind—which has a tendency to complicate all sorts of concepts to the limit—it completely changed the perspective of everything. ‘aTempore’ was born. What did that mean to me? If ‘tempore’ is, theoretically, ‘(at) that time,’ then ‘aTempore’ would mean ‘non-time.’ Now we have ‘That Non-Time.’ Does this mean we should think of time that has stopped? Or perhaps of different spaces, sensations? […]” - as the introductionary note to the movie says.

Ninth, longest and final part of the cycle “Thou Art BENEDICTUS”. Chaotic abstraction, an escape from the unknown. An allusion to the light that moves from place to place at infinite speed, in an unknown, random direction. Is it in fact… escaping too?

A journey through the night and the day, the natural and the unnatural, accompanied by a brief poem and solitary sounds of an electric piano. First part of the cycle "The Requiem Films".

A story of (will of) emotional evolution, as seen by an invisible character.

Fifth part of the cycle “Thou Art BENEDICTUS”. Reflections on the sand - taken literally and metaphorically.

Sixth part of the cycle “Thou Art BENEDICTUS”. Triple visual canon with rushing colorful clouds as their subjects.

Part seven of cycle "The Requiem Films". “I imagine that almost everyone who has come across this piece is familiar with the phrase ‘in illo tempore’. In illo tempore—in that time. […] Let’s pause for a moment on ‘tempore’. Let’s consider, as laypeople might, what part of the original phrase this is. Of course, it is technically ‘time.’ [..] When an extra letter ‘a’ appeared in my mind—which has a tendency to complicate all sorts of concepts to the limit—it completely changed the perspective of everything. ‘aTempore’ was born. What did that mean to me? If ‘tempore’ is, theoretically, ‘(at) that time,’ then ‘aTempore’ would mean ‘non-time.’ Now we have ‘That Non-Time.’ Does this mean we should think of time that has stopped? Or perhaps of different spaces, sensations? […]” - as the introductionary note to the movie says.

Part seven of cycle "The Requiem Films". “I imagine that almost everyone who has come across this piece is familiar with the phrase ‘in illo tempore’. In illo tempore—in that time. […] Let’s pause for a moment on ‘tempore’. Let’s consider, as laypeople might, what part of the original phrase this is. Of course, it is technically ‘time.’ [..] When an extra letter ‘a’ appeared in my mind—which has a tendency to complicate all sorts of concepts to the limit—it completely changed the perspective of everything. ‘aTempore’ was born. What did that mean to me? If ‘tempore’ is, theoretically, ‘(at) that time,’ then ‘aTempore’ would mean ‘non-time.’ Now we have ‘That Non-Time.’ Does this mean we should think of time that has stopped? Or perhaps of different spaces, sensations? […]” - as the introductionary note to the movie says.

Ninth, longest and final part of the cycle “Thou Art BENEDICTUS”. Chaotic abstraction, an escape from the unknown. An allusion to the light that moves from place to place at infinite speed, in an unknown, random direction. Is it in fact… escaping too?

A journey through the night and the day, the natural and the unnatural, accompanied by a brief poem and solitary sounds of an electric piano. First part of the cycle "The Requiem Films".

A journey through the night and the day, the natural and the unnatural, accompanied by a brief poem and solitary sounds of an electric piano. First part of the cycle "The Requiem Films".

A story of (will of) emotional evolution, as seen by an invisible character.

A story of (will of) emotional evolution, as seen by an invisible character.

Fifth part of the cycle “Thou Art BENEDICTUS”. Reflections on the sand - taken literally and metaphorically.

Sixth part of the cycle “Thou Art BENEDICTUS”. Triple visual canon with rushing colorful clouds as their subjects.

“Thou Art BENEDICTUS” is the first part of a cycle of the same title. The entire cycle focuses on concepts related to nature, concepts that are “saintly”—hence, “BENEDICTUS”. In “Thou Art BENEDICTUS,” shots related to nature (a lake from different points of view) and travel (a train) are used. Its form almost resembles a theme and variations. It is divided into five sections where its basic material is repeated 5 times; each time, new layers of shots are incorporated to what has been used before.

Eighth part of the cycle “Thou Art BENEDICTUS”. Trees, Shrubs, Bushes, Leaves, Flowers - everything that is Green, and not only.

Seventh part of the cycle “Thou Art BENEDICTUS”. The wind gently rustles through the aluminum... through itself.

Third part of the cycle “Thou Art BENEDICTUS”. A group of candles and the fire are put into constant visual transformations.

Second part of “Thou Art BENEDICTUS”. A calm meditation on endless visual and philosophical possibilities of the water.

Fourth part of the cycle “Thou Art BENEDICTUS”. A caleidoscopic depiction of world spinning in a circle.

Integral version of "Thou Art BENEDICTUS" - a "symphony" of nine silent short films: "Thou Art BENEDICTUS", "The Water", "The Fire", "The Circle", "The Sand", "The Clouds (canon)", "The Wind", "The Green" and "The Light". Part twelve of the cycle "The Requiem Films".