This is an anthology film which is a trilogy and comprises some of my previous works. From dehumanizing the enemy to dehumanizing the perceived self in a dying world, the film attempts to navigate through the chaos of tragedy and transcendence. It's a story about the new Zarathustras of our world, and it's also one about embracing absurdity, akin to a smiling Sisyphus.
The trilogy, as depicted through the short films "Fragile Symphony," "World of Grey Men," and "Guardless," offers an exploration of the human experience in the face of existential challenges, societal structures, and the relentless passage of time. At its core, the trilogy is a meditation on death—not merely as a biological inevitability but as a pervasive force that shapes individual and collective consciousness.
In "Fragile Symphony," the narrative unfolds amidst the backdrop of a calamity, symbolized by the sinking of the RMS Symphony. The dehumanization of the "enemy" during wartime serves as an introduction to the harsh realities of human conflict. Here, the trilogy sets the stage for an examination of how societies, in the pursuit of power and survival, often reduce individuals to mere entities, stripping away their humanity.
"World of Grey Men" delves into the contemporary landscape, particularly the tumultuous times marked by the COVID-19 pandemic. The protagonist, a student navigating the complexities of a world in crisis, reflects on the structures that govern human behaviour. The concept of the "guard" serves as a metaphor for both societal authority and the perception of a higher power. The film contemplates the consequences of expanding the metaphorical panopticon, drawing parallels between societal structures and the panopticon's watchful gaze.
"Guardless" catapults us into a speculative future where the grand narratives of the present have collapsed. The protagonist, an artist, grapples with a world devoid of traditional theological structures. The film explores the banality of existence in a post-collapse era, where the mundane takes centre stage. In this narrative, the "guard" transforms into an abstract concept—a symbolic representation of the death of God and the dismantling of traditional belief systems.
Throughout the trilogy, the themes of dehumanization, existential questioning, and societal critique resonate. The protagonists—be they anonymous grey figures or introspective artists—become vessels for the audience to contemplate the human condition. The absence of explicit identities allows viewers to project themselves onto these characters, making the themes universally relevant.
The concept of a Nietzschean Zarathustra echoes through the trilogy, not as a singular character but as an idea that manifests differently in each film. The new Zarathustras of the world are not only mourners of the death of God but, in a contemporary twist, may also be complicit in killing or redefining these metaphysical entities. This dynamic highlights the evolving nature of belief systems and the responsibility individuals bear in shaping the narratives that govern societies.
The trilogy engages with philosophical ideas from thinkers such as Simone de Beauvoir and Audre Lorde. The distinction between the master, vulnerable, and powerful, as well as the critique of using the master's tools to dismantle the master's house, add layers of depth to the exploration of power dynamics, oppression, and societal structures.
The Proustian and Kafkaesque moments contribute to the atmosphere of the trilogy. For instance, the juxtaposition of dystopian imagery and moments of melancholia in "World of Grey Men" tries to create a nuanced emotional landscape. The trilogy borrows elements from existential philosophy, absurdism, and critiques of societal structures to craft a narrative that invites introspection and contemplation.
In essence, this trilogy is a tapestry of ideas. This philosophical exploration invites the audience to confront the fragility of existence, grapple with the consequences of societal choices, and reflect on the ever-shifting nature of belief systems.