War. Fragility. Instruction Abidance. Intuition. Digitalization. Dichotomous decision paths. What would we do if we were given the freedom to direct possibilities?

A Spirit are searching the White light, It believe, there is a heaven place waiting. But it face an angel instead.

In a human-insect analogy, the poem questions the reader about his or her intimate impressions of the 'other', and inquires into empathy and self-introspection about beliefs and our own basis of acculturation.

"Gibber Eidolon" is an insubstantial image, whose speech is clouded to the point of incoherence. It is what we see when we visit a place where the dead are buried; the vision of murky histories. The graveyard and the mausoleum are liminal spaces, where every end is the beginning of a process. That process is the technological management of death. Through footage of outdated computer technology, punch cards and magnetic spools, Gibber Eidolon attempts to tie its super8 film footage of various centuries old graveyards into a dialogue of corporeal archival. The graveyard as archive. But like technology, a tombstone can lose its markers, the information of the deceased. Like an old disk whose format has long died.

Light is information, a signal more lasting than recollection. If there’s anyone out tere to receive the message. Isolated in a sealed apartment, a lone observer regards an outside world outside become increasingly unreal or unreachable. Archaic illuminations, old slides and the pin-lights of the camera obscura, crawl across the walls. Connections fray. Time loses meaning. A science fictional essay film, or its inverse. A rumination on optics, memory, data, and endings.

Omar's journey from Syria to Hungary narrated as a blurry anecdote by the fire.

To honor the memory of his father who passed away in 2019, Martin Del Carpio opts for the medium of film once again, and delivers his most lyrical work to date. At once deeply personal, carefully veiled in a delicate fabric of pure emotions, and absolutely immersive in its dreamlike, mysterious beauty, ‘The Dark Forest’ transmutes its author’s innermost life into an admirable piece of introspective cinema. Opening with Dante Alighieri’s quote which inspired the title, it takes the viewer on a short, yet transcendent journey through the bushes of symbols and trees of thoughts, in the company of a lovely (and cunning?) forest spirit embodied by Carly Erin O’Neil whose poise and grace translate as otherworldly. The enchanting imagery that we see on our way is the result of another tight-knit collaboration between writer / director Del Carpio and DoP / editor William Murray, whereby the dense atmosphere of meditative seclusion is complemented by Dan Shaked’s ruminative voice-over and M. Nomized’s haunting score which occasionally gives off some strong ‘classic Hollywood’ vibes...