#wreckOfHope is a movie without word, nor character. The title itself has more to do with a comment line in a programming language – introduced by the ‘#’ – than with a proper hashtag. Thus, any description should seem doomed to failure.
Nevertheless, as forewords, we could try something else: to tell a story, the one of its creation. It starts with a painting, made by Caspar David Friedrich, named the Sea of Ice (1824). This painting was reproduced into a 3d model, and by this same move partly reinvented. However, by a mischievous attitude, the resulting image was split into four panels, forever rotating. The picture was thus put into a sort of turbine, always making and unmaking the original painting through its spinning movement.
From this point, the cinegraphy started to emerge. At first, it took the shape of a simple variation of the four-panel figures hereby created. But soon, as a Dvorak’s sonata began to dive into the editing process, it grew into a kind of dialogue. A dialogue between image and sound, with one specific rule : each partner had to reflect the variation of the other, and then to build the following variation by its own organic process. When image and sound had plenty spoken, the film was made.
7’15, color, sound,