DISCLAIMER: Do not be put off by the stark austerity of this site. The idea is to consume as little energy as possible on these pages. This is merely the skeleton—bare, almost mineral. Our works bear no resemblance to it. They are made of flesh and emotion, as the world itself is. Thank you for your understanding.
THE S H A D O W , in its traditional role, is a subtle yet powerful metaphor for the quality imposed upon women, earth, and animals. All these entities, within patriarchal logic, belong to the object that exploits them, and their very existence is conditioned by that object. Their role is to relate, to complement, or to reflect, never to exist for themselves. They are the “shadows” of central and dominant figures: man, civilisation, rational thought.
Even if the shadow depends on the light and the object to exist, without it, the light would either be unbearable (omnipresent and blinding) or simply uninteresting. Similarly, objects would reveal themselves to one another without volume or contour, constantly colliding due to their unintelligibility. This apparent dependency thus conceals a symbiotic power essential for all photosensitive beings. Similarly, human women, the earth, and animals uphold the very structures of the human world.
Reversing this paradigm —transforming the object into the shadow of a shadow— overturns the established order. The object fades into a reflection of a greater, more fluid, freer force. More than a game of reversal and revenge, it evokes the dissolution of rigid categories and dualisms (subject/object, man/woman, human/non-human).
The shadow that detaches, that rises, that floats, or that frees itself from the ground, the shadow that ceases to be seen as the appendage of an object, becomes an autonomous entity, a force. We believe that any creative role we could imagine for shadows embodies a powerful visual metaphor of emancipation to transform the traditional roles assigned to “natural” entities.
Let us abandon simplistic dualisms to explore the blurred and unsettling zones of interconnections. Within this framework, the shadow becomes an active interface, revealing the complex relationships between what is visible and what remains hidden. Far from simply complementing light, it acts as a vector of interdependence and transformation, showing us spaces where life and thought meet—even if they are not pretty.
By surpassing the traditional perception of the shadow as an absence or negative, we reframe it within a speculative vision where it constitutes a hyperobject, of which we can only see fragments, echoes of a vaster, less perceptible order.
The shadow is also a perfect metaphor for embodying the absurd: an elusive presence defying all logic or system. In this tension, between the search for meaning and the acceptance of meaninglessness, lies the possibility of a non-nihilistic absurdity. Here, the shadow is not a despairing void but a fertile space for reinventing our ways of thinking, creating, and existing in the world.
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> > Dear creators, here’s our invitation :
Human history shows that rich forms of absurd art often emerge after major conflicts, echoing the upheavals and absurdities of those times. Today in 2025, the looming conflict seems inevitable, fuelled by the headlong rush of a toxic economic system (capitalism) and by what underpins it: a limitless enterprise of total reification. Let us attempt together to understand our ambivalences towards this foolish process.
We wish to invite you to try a cinema that is collaborative, inclusive, and more-than-inclusive —a cinema that does not seek to impose a vision, but to open spaces for co-creation and interconnection. We see this cinema as a possible form of a new absurd art, an attempt to collectively explore answers to the void, to tensions, and to uncertainty.
2025 is also promoted « international year of quantum mechanics »… It goes without saying that all cinemas (precinemas, postcinemas, classical, or synchronic cinemas) are nothing more than assemblages of picture elements and fragmintuitions of hyperobjects. Our cinema is no different, except that it strives to be aware of this. Existing only within an ecosystem of anachronisms, the transcendence of time and space is no longer an abstraction but a quantum reality.
Let us shake causality, and with it, linear time —our first target to overturn this year. Already, 17 potential films are wandering slowly in the shadows of the Internet. Not projects yet to come, but monstrous films that precede us, interferences. They bear the face of a quantum cinema, raised against linear time and ready to invert its rules. They are neither fixed nor complete, but they inhabit that space where art, thought, and shared shadows can become agents of transformation.
Here is the plan:
1) [FakeMovie().txt]
2) [Trailer.shoot()]
3) [WebPlanting()]
4) [ForgetAndWait()]
5) [Paratext.Life()]
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> > unmadeframes (at) proton.me