On our Instagram or Facebook pages, we show only the best part of ourselves, the “beautiful” part of our lives. We hide in this fake. We are so immersed in the process of creating our ideal virtual personality that we forget about real life. We forget the simple truth that beauty is inside.
The film subtilely focuses on a social issue that has global reach: how we perceive and judge ourselves and the others in a world dominated by social media, which demands perfect beauty and instant gratification.
An actress and a painter, Susan Sarandon and Tigran Tsitoghdzyan, discuss how the apparently in conflict values of beauty and aging are perceived in our social-media obsessed society, as he tries to limn her portrait during a timeless sitting session in New York City. A young Muse, played by actress Florence Faivre, completes the trio of visual leitmotivs, embodying the search of lost time and lost beauty. With this film the director, Arthur Balder, sets in motion his theory on poetics of cinematic art, by attempting to recreate the deep conflicts of creativity in a non-linear, challenging story-telling scheme that intentionally departs from reality into surrealistic expression. The fictional formulation of thought-processes, recurring to mise-en-abyme, which can be called involuntary memories but also ‘omens’ and other sort of ‘visions’, imagery occurring in the internal eye in connection with the unconscious and entirely ‘subjective’, are the quintessential substance of the director’s final result. ‘Intimations of Immortality’ is a reference taken from British Romantic poet William Wordsworth’s ‘Ode: Intimations of Immortality from Recollections of Early Childhood’. For Wordsworth poetry was all about the ‘memories’ we keep from our most deeply felt living hours.