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About this film

A burning flame, black-and-white, opens Nasos Karabelas’ Osmosis, a philosophical piece on life, death, loneliness and nothingness. Nothingness, this absence, this lack of something, is a major force in Karabelas’ film. It’s disorienting, just like the sound which the director uses carefully, subtly even, in order to reinforce the voice over, written by his friend Christos Makridimitris. The almost nihilist voice-over accompanies the lonely journey of a young man through fields, through ruinous structures, along rivers. One wonders whether the voice over is actually the voice in the young, unnamed protagonist’s mind.

Perhaps Osmosis can be considered a sound film in part. There is an almost persistent soundscape, at times interrupted by silence, in parts by the voice over. Silence, the nihilist voice over and the choice of black and white creates a suffocating piece which one, strangely enough, cannot let go. Even though there is little happening visually, the voice over takes us on an intense journey through life, which will leave you with plenty material to think about.

Nadin Mai (tao films)

Interview with the Director
Your film title is an interesting choice given the subject you’re dealing with. How did the title came about? What role does osmosis, as a process, play in your film?

In the movie there are many different elements which are all interacting and they form the aesthetic of the movie. My cooperator Giorgos Panagiotou considered that we should describe all those elements under the title of Osmosis. After a long conversation with him, I agreed.

I really like the voice-over throughout your film. Can you tell me more about how you approached “Osmosis”? Have you had the idea for a film and wrote the voice-over afterwards, or did the voice-over as a text come first?

The narration was composed before the filming of the movie and it was somehow our guide for what we should shoot. We needed scenes with the same emotion like the narration. When we finished the filming, we recorded the narration and started editing the film.

Your work is very philosophical. To me, it is even nihilist, in parts. But, to me, at least, it is about questions that today’s life raises.

The movie sets questions which reflect firstly my personal worries and secondly the daily life of a human being at this very moment.

Osmosis is essentially about us, about today’s world. In what way do you think film can contribute to responding to today’s urgencies, tasks and questions?

The purpose of the movie is to make the viewer consider and not to give some specific answers. The purpose of this movie is to create questions.

Given the subjects you touch upon in your film, you could as well be a philosopher. Where does your interest in film come from?

Through the movies I have been watching occasionally, through my personal occupation with cinema and the study of cinema itself. I have read and watched great directors and philosophers of the 7th art via the artistic movements in history of cinema.

I know that you’re not only a filmmaker but also a photographer. I could see this in your film. Is photography and film a natural symbiosis for you, have they developed together in your career, or has one developed out of the other?

Talking about photography and cinematography is different because they are expressing different parts of my personality. They are my harmony and my chaos, for example. Although they have something in common; they are a trip to my personal self and a way for communicating with my inner being.

Are you planning to do more films with your friend in future?

For the moment, nothing has been decided or been discussed about a new cooperation. We will see that in future.