Included by the Cinemascope magazine in a top ten of the best films of the decade, BOUNDARY is a sensuous cinematic poem, reminding of the atavisms of the Expressionist painting. Via an atmospheric subjective depiction of a real “boundary”, a border area, an actual no man’s land, the filmmaker generates a shift from the physical level to a metaphysical one. The pace of the long takes and the amplifying of the natural ominous sounds lead to an organic metamorphosis of the film space, which becomes a “boundary” both literally and metaphorically, an intermediary, uncertain territory, an access gate to a visceral meta-reality, of psychological and, possibly, spiritual nature. DEVIN HORAN subtly captures the frailty of a part of the world and of humanity chemically unstable with a mysterious sword of Damocles overhanging it.
DEVIN HORAN (b. 1982, United States) graduated in Art History from Columbia University in New York City. In 2007 he joined the Lithuanian filmmaker Sharunas Bartas' production company Studija Kinema, where he worked as a production and camera assistant on Eastern Drift (Indigene d'Eurasie) in Vilnius and Russia. Boundary (2009) was his first film and has screened at numerous international festivals while his second short, Late and Deep (2011), premiered at the 68th Venice Film Festival in the Orizzonti program.
IDFA Amsterdam Paradocs 2010 / Special Prize of the Grand Jury - Festival of Different And Experimental Cinemas Paris 2010 / Belgrade International Short and Documentary Film Festival 2012 / European Media Art Festival Osnabrueck 2011 / Rencontres Internationales Paris/Berlin/Madrid 2010 - Centre Pompidou Paris, Haus der Kultur der Welt Berlin, Reina Sofia Museum Madrid / Courtisane Festival of Film, Video, and Media Art Ghent 2011 / 25 FPS International Experimental Film Festival Zagreb 2010
“A psychogeographical look at a twilight zone and its equally elusive inhabitants, close to the border between Latvia and Russia. The landscape is dotted with a few isolated houses; a dog barks and two storks sit in their nest. The inhabitants are captured in static portraits, in a strange, high-contrast light. They hardly move, while on the soundtrack a ceaseless wind blows. The sound of a storm, a mysterious needle and the full moon stress that the atmosphere is more important than the narrative, and that lyrical intensity weighs heavier than explanations. The narrativeless film BOUNDARY shows us an indeterminate space, within which there are no personal stories. This is the first in a series of four films (three short and one full-length) inspired by a statement by the Iranian author Sadeq Hedayat: In life, it is possible to become angelic, human or animal. I have become none of these things.” (IDFA PARADOCS)