Falsesighted

Version 1: Falsesighted is a selection of films that you just can’t trust – that is, of films that lie. Men (in high masculine fashion) saying things to exploit their own “creative” needs, tainting images with their subjective narratives under the purported (by them of course) guard of “objectivity.” These films reveal the desire to narrate as a form of psychosis: they unethically rearrange the world as it really is to support their own ends, as all “documentary” or “ethnographic” films do…

Version 2: Falsesighted is a selection of films that demonstrate the impossibility of “truth” in cinema. With a one foot in reality, these films leap beyond, creating infinite landscapes, impossible topologies, gospels that mimic the pattern and structures of the human memory. These films don’t care about the idea of documentary; they are essays in the original sense, attempts to work out a communicable vision – not something so big and messy and boring as reality…

Version 3: Falsesighted is a selection of films that attempt to show the utter incompatibility of the words “truth,” “untruth,” and “cinema.” The are “non-fictional” films that stage and frame reality in a “fictional” way, playing with the inherent instability of this dichotomy. With these films, we have a sense of how cinema can create specific instances or studies of reality, but will always fall short of creating reality – no author can determine what effects the film, now made, will have as a newly-minted component of the real world…