This project uses the denial of the depth of projection, which is what makes cinema exist, and the fundamental principals of the medium do not seem to be available for creative operation. Yet when the invisible parts of the cinema are occupied, “cinema shows itself expanded”.
Check  the site ….In the exposed interface proposed for the editing of the movie  – with the sprocket  – there is a will to bring out the inner workings of the cinema machine.
The mystery of montage is revealed, a profanity witnessed by the audience. The place where cinema happens is put away from the screen (along the z axis), closer to the dimensions lost in the process. Benjamin notes that the mechanization of the medium reproduction in film causes a waste of theaura. In this project, the aura is somewhat restored, by the unicity of the performance (bringing in the risks of the theater performance) and by the presence of the author, whose presence, in film, is usually detached from the reception of the audience.
It’s a new hybrid form: it doesn’t fit in the cinema festivals (too non-linear) nor in the contemporary art world (too narrative). Yet, it’s the most compelling experience for the audience I could proportionate in my filmmaking career. The reception seems to be enhanced by the risks. The mistakes I make trying to create a new narrative end up creating unimagined meanings. Then my own reception enters the scene as a new player, influenced by the reactions of the public, feedbacking into the montage.