You feel it without seeing it, it separates and assembles and defines time and space. It is neither
present nor absent. This film is about the cut. The film will be an essay reflecting on the cut and
the act of cutting. The cut will be investigated as something in itself, more than the abyssal gap
between two shots in a film, and more than just a function in telling a story. With needle, thread
and archival films the director aspires to show the fine thread between now and then and show
the (un)seen bonds between people in the footage and in between the frames. Through the
technique, material and choice of footage the film will give screen time to what is unseen but
important. The film will examine the theme of what is seen, yet hidden. This is an experimental
short film. The home movies will be printed out on paper, sewn together with needle and thread.
The score will be made by composer and sound artist Anton Friisgaard who will work on
audiotape and tape machines. The director aspires to make a visceral film.
Is it possible to make a film, so simple in its premise, that it reveals the complexity and inadequacy of the language used to describe and understand the mechanics of film? Can art be a tool to elicit a forgotten part of history? Can we through home movies preserve the presence and perspective of another human being? And even more important, can we access it? I believe so and that is the reason why I want to make this film. The background for the choice of technique is inspired by the unseen female editors, who revolutionized the art of editing. In the early years of cinema editing was considered “women's work''. The editing process was looked upon as a manual and uninventive job. The reasoning was that women have good dexterity from all that sewing and knitting, so naturally they can edit film. The female editors soon saw the immense potential in editing and many of them revolutionized and defined the art of editing but have been overshadowed by their male directors.