Alosis

Greek artist Georgios Cherouvim returns with an experimental short that offers an amusing portrait of humanity’s isolation from nature and its confinement to a digitized world.

The film plays with staging and iconography, re-contextualizing routine events from urban life in the middle of nature. Characters are depicted in de-humanized form, with suits and ties, staring in most cases at mobile devices or PCs, and interacting with each other through non-verbal digitized communication. No specific character is described or developed particularly, the short presents them as part of a generic crowd.

Alosis features Georgios’ trademark stylized low-poly aesthetic, which in this case helps describe nature in digitized form. Cameras are static until the two last scenes and are employed with descriptive intention. In those previous sequences visual rhythm is handled through editing and motion within the frame. The final sequence uses a moving camera at an increasing speed to create a sensation of acceleration and saturation, with an intense visual rhythm that makes shapes indistinguishable.

A lot of work has been dedicated to sound, which plays an important role in transmitting the intrusion of the digital world, the de-humanized communication and the metamorphosis of the human into the digital at the end.

Alosis contains elements that have shown up in the author’s previous work, including the characters with ties and humanity’s relationship with the environment.