Breeze — The First Performative Film

1.
(English below)

Breeze — the first performative film
Breeze is the first example of a new kind of cinema. It is also a new way of presenting ephemeral art. 

On 25 July 2020, a group of visitors from different planets landed in the Baltic Sea. A group of friends documenting their stay at the seaside begins filming the aliens coming ashore. The strangers pass through Sopot, arousing the surprise of passers-by. 

The film was inspired by Stanisław Lem’s book entitled Głos Pana / His Master’s Voice. In a subversive way, it presents His Master’s Voice as another form of communication, studied in a laboratory by a group of young enthusiasts.

Title: Breeze — the first performative film

Country and year of production: Poland 2020

Premiere (online): Poland, Goyki 3 Art Inkubator, Sopot, 30 December 2020

Type of film: performative fiction film

Genre: science fiction

Running time: medium-length (40 minutes including credits)

Situational plan (screenplay): Oskar Chmioła;

Artistic curator (direction): Oskar Chmioła;

Featuring: Adrianna Janowska Moniuszko, Agata Sznurkowska, Anita Petk, Bartosz Mateńko, Dorota Kozłowska, Daniel Zakrzewski, Gabriela Zając, Michel Ducerveau, mac lewandowski, Małgorzata Tęgowska, Oskar Chmioła, Pedro Rizzi, Robert Chmielecki, Rutra Kisanaj (Artur Janasik), Szatan Witkowsk, Tomasz Kubik;

Cinematography: Bartosz Mateńko, Michał Baczyński, eventmovie.pl;

Music: Wojciech Król

Camera operators: Bartosz Mateńko, Michał Baczyński, Daniel Zakrzewski, Robert Chmielecki, Anita Petk, Tomasz Kubik, Pedro Rizzi, Oskar Chmioła;

Editing: Oskar Chmioła, Karolina Puławska, eventmovie.pl

Post-production: eventmovie.pl

Sound mastering: Wojciech Król

Opening credits: Przemysław Garczyński (also the reproduction of the painting “First Figures” in the graphic promoting the film)

Producer: Karolina Puławska

Thanks to the authorities and administrators of the locations where filming took place:

PTH Kąpielisko Morskie Sopot,

Bałtycka Agencja Artystyczna BART,

Pyrzycki Dom Kultury.

The film includes an English translation by Maciej Bryńczak.

The film was made with financial support from the Municipality of Sopot.

Jacek Romański writes about the film:   

“Waiting for the Diva. Around Oskar Chmioła’s ‘Breeze — the first performative film’

The moment the camera stops recording, a barrier that is difficult
to cross arises between the events on the film set and the resulting recorded footage. Life and image, connected for a moment by the simultaneity of the time of recording, separate from one another. A certain fragment of reality
seems caught in the leaky net of the transducer, distorted, then forced
through editing into the persistent rhythm of digital repetition and universal accessibility, which can take on a certain appearance of permanence in the form of an image. Although at the moment of the freeze-frame that to which the image referred has passed irretrievably
and cannot be repeated, through the monotonous pattern of days life itself nevertheless also seems marked by a similar illusion. Is the creator’s role, then,
to expose the fundamental impermanence on both sides of the camera by placing the viewer in a situation of stress and disorientation, which we usually feel
when encountering what is different, not yet discovered, unknown? Or, on the contrary, to establish new rules in the face of this all-encompassing variability? Most probably both.

In Oskar Chmioła’s “Breeze”, then, we see resistance to established rules. Suspending them is intended to reveal what has hitherto been constrained, concealed by patterns and social norms, imperceptible. Hence the gesture recurring in the film, pointing to what is above, what transcends established situations that can find permanence only in the apparent repetition already mentioned. To break free of the rules, experience change, be part of it — all in order to discern what that gesture ultimately points to: shining through everything, joining
within itself a multitude of moments and bringing back together what seemed separate — Love. Rebellion here is thus an action associated with the experience of change, the driving force of a world that is yet to be built, but, with the rejection of existing rules, on different foundations. By loosening the corset of illusions and prejudices in this way, the individual can hope to experience everyday life in all its freedom and uniqueness. Yet to avoid becoming a hackneyed phrase, once again a play of appearances, opposition must keep smouldering all the time. In other words, the necessary interpretation, but also the very concept of the film, should strive
for free improvisation, move towards the free flow of life itself, which cannot be enclosed in a cage of prohibitions and commands, in police stations, boarding schools, schools or homes. 

This striving towards improvisation is perhaps particularly visible in the arrest scene and the events that follow. It is realized through the diversity of performative strategies, producing a certain situational relaxation in the film, intensified by the multiplicity of camera operators and viewpoints. At the same time, thoughtful editing and camera movement (angles, drone footage, etc.) balance this effect, only to intensify it again through their chaotic and chance character in the next scene or shot. The creative potential of the prosaic is thus revealed here through means different from, or counterintuitive to, our habits; it may therefore herald a new norm emerging
on the horizon, free of previous prejudices, preparing a place for the Diva mentioned in the extraordinary monologue in “Breeze”.”

“Breeze…” is the first example of a fiction film meeting all the demands of the so-called “Performative Cinema Manifesto”. It thus realizes the concept of a new kind of cinema while simultaneously offering a strategy for documenting the ephemeral creativity of performance (performance art and performing arts). As we read in the Manifesto, one of the fundamental premises of this cinema is to replace “actors with performers, that is, people who can
present something authentically in a manner specific to themselves. Let us remember, however, that performers do not have to be artists. Let us also understand that they may
be actors who can use their craft as a tool for their own expression” (Performative Cinema Manifesto, Oskar Chmioła, Sopot, 25.07.2020 http://chmiola.com/manifest-kina-performatywnego/).

What does a film look like when its characters are not played by actors but presented by performers? Viewers could find out by watching the premiere screening of “the first performative film”.

According to the PWN Encyclopaedia, a breeze [French: brise] is “a local wind associated
with air circulation developing above a surface with varying thermal properties”. The titular Breeze is a metaphor for a breath of fresh perspective on cinema, performance, lifestyle and ways of communicating, and an invitation to look in the direction
from which it is coming. That direction — the source of this idea — is drama-culture,
whose essence is sensitivity and singularity. The ground over which it spreads
is techno-culture, whose essence is measurability and normativity. The circulation of the influences of these two ideas is characteristic of human civilization.
The film identifies drama-culture as that which moves, and techno-culture as that which shapes. In the film, drama-culture is represented by performers whose behaviour is atypical
and out of the ordinary, while techno-culture is represented by passers-by (residents, tourists
and employees watching and reacting) whose behaviour is typical and everyday. The film’s message is that these two ideas can coexist in harmony while remaining in continuous dialogue. It is an attempt to draw attention to the fact that our disputes about social mores and worldviews are a kind of regulatory system of the human collective, responding to a changing reality, a reality
whose nature is fractured, deficient somewhere, and therefore constantly in motion.
The film presents performativity as a strategy for surviving in such a world.

It is worth adding that the film is based on Gilles Deleuze’s premises of the time-image,
and is even a tentative attempt to go further in creating the crystal-image (image-cristal). A tale of the ACTIVE presence of ideal visionaries (pure voyants). The presence of people who are in the minority (minoritaire). It is a film about the activity and sensitivity of the people who are missing (un people qui manque). Moreover, filming in Sopot took the form of a cultural event, a kind of presentation of performances
in which anyone interested could participate as a spectator. In addition, a performative utterance is hidden in the film: a mysterious trace, a message left by one of the visitors. In this way, the film has the character of a promise; it performs within the viewer, who can read this message if they visit a specific location from the film. 

It is also important that the entire project (the film and manifesto) reflects 

“[the author’s] inspiration from films containing performative elements involving interventions in public space, such as Two Men and a Wardrobe by Polański, 
La montaña sagrada / The Holy Mountain by Jodorowsky,  Holy Motors by Carax,  Performance by Cammell and Roeg, and somewhat more distant fascinations with the cycle Cremaster by Barney,  Electroma by the duo Daft Punk” (Faith, Mission, Harmony. On Oskar Chmioła’s Breeze, dr hab. Bartosz Wójcik, 15.12.2020 — complete text available to download -> Faith, Mission, Harmony. On Oskar Chmioła’s Breeze).

ENGLISH

Breeze – The First Performative Film

Bryza is the first example of a new kind of cinema. It is also a new way of presenting ephemeral art.

On July 25th, 2020, a group of visitors from various planets landed in the Baltic Sea. A group of friends documenting their stay at the seaside begins to film aliens arriving on the shore. Strangers stroll around Sopot, surprising passers-by.

The film was inspired by the book “Głos Pana/His Master’s Voice” by Stanisław Lem.

Title: Breeze – The First Performative Film

Country and year of production: Poland 2020

Premiere (online screening) – Poland, Sopot, Goyki 3 Art Inkubator, December 30th, 2020 at 7 PM (UTC), goyki3.pl

Type of film: Performative feature film

Genre: science fiction

Duration: medium-length (40 minutes with credits)

Situation Plan (Scenario): Oskar Chmioła;

Art Curator (Director): Oskar Chmioła;

Starring: Adrianna Janowska Moniuszko, Agata Sznurkowska, Anita Petk, Bartosz Mateńko, Dorota Kozłowska, Daniel Zakrzewski, Gabriela Zając, Michel Ducerveau, mac lewandowski, Małgorzata Tęgowska, Oskar Chmioła, Pedro Rizzi, Robert Chmielecki, Rutra Kisanaj (Artur Janasik), Szatan Witkowsk, Tomasz Kubik;

Pictures: Bartosz Mateńko, Michał Baczyński, eventmovie.pl;

Music: Wojciech Król

Camera Operators: Bartosz Mateńko, Michał Baczyński, Daniel Zakrzewski, Robert Chmielecki, Anita Petk, Tomasz Kubik, Pedro Rizzi, Oskar Chmioła;

Editing: Oskar Chmioła, Karolina Puławska, eventmovie.pl

Post-production: eventmovie.pl

Sound Mastering: Wojciech Król

Opening Credits Production: Przemysław Garczyński (also a reproduction of the painting „First Figures” in the graphics promoting the film)

Producer: Karolina Puławska

We would like to thank the authorities and administrators of the places where the photos were shot: 

PTH Kąpielisko Morskie Sopot,

Bałtycka Agencja Artystyczna BART,

Pyrzycki Dom Kultury.

[Bathing Area PTH Sopot,

Baltic Artistic Agency BART,

House of Culture in Pyrzyce.]

A film with an English translation by Maciej Bryńczak.

The film was made with the financial participation of Sopot Municipality

Jacek Romański writes about the film:

“Waiting for Diva. Around „The First Performative Film” by Oskar Chmioła

The moment the camera stops recording, a difficult to cross barrier arises between the events on the set, and the effect in the form of the recorded material. Life and image, connected for a moment by the simultaneousness of recording time, separate from each other. Here a fragment of reality seems to be caught in a leaky transducer network, distorted, then forced by editing into the persistent rhythm of digital repetition and accessibility that can take on a certain appearance of permanence in the form of an image. Although at the moment of freeze-framing what this image referred to is irretrievably gone and cannot be repeated, yet due to the monotonous pattern of days, life itself seems to be marked by a similar illusion. So, is a creator’s role to expose the fundamental lability on both sides of the camera by putting the viewer in a situation of stress and disorientation, which we usually feel when faced with a different, yet undiscovered, unknown? Or, on the contrary, setting new rules in the face of this overwhelming changeability? Probably both.

Therefore, in „Breeze” by Oskar Chmioła we see resistance against the existing rules. Their suspension is to show what has so far been constrained, obscured by schemes and social norms, and unseeable. Hence a recurrent gesture in the film of pointing to what is above, what transcends existing situations that can find permanence only in the aforementioned apparent repetition. To break apart from the rules, to experience change, to be part of it – all in order to see what is ultimately indicated by this gesture: shining through everything, connecting a multitude of moments within itself and bringing back what seemed separate – Love. Here, rebellion is therefore an activity related to the experience of change, it is a driving force for a world that is yet to be built, but in the face of rejecting existing principles, will be remade on an altogether different foundation. In this way, by loosening the corset of delusions and prejudices, an individual can hope to experience everyday life in all its freedom and uniqueness. However, in order for it not to become a hackneyed cliché, yet another game of appearances, opposition must smoulder all the time. In other words, the necessary interpretation, but also the very concept of the film should strive to free improvisation, aim towards the free flow of life itself, which cannot be locked in a cage of bans, orders, at police stations, boarding houses, in schools, or homes.

This drive to improvise is perhaps particularly evident in the pause scene and the following events. It is realized through a variety of performative strategies, which create a certain situational looseness in the film, magnified by the multiplicity of operators and points of view. At the same time, thoughtful editing and camera movement (angles, drone photos, etc.) equilibrate this effect, only to intensify it again through chaos and randomness in the next scene or frame. Thus, the creative potential of the mundane is shown here through means that are different or counterintuitive to our habits, it can therefore be a herald of a new norm emerging on the horizon, free from previous prejudices, a preparation of a place for the Diva that was mentioned in the unusual monologue in „Breeze”.

„Breeze…” is the first example of a feature film that meets all the demands of the so-called „Performative Cinema Manifesto”. Thus, it is the fruition of a concept of a new kind of cinema and, at the same time, a strategy for documenting ephemeral creativity, namely performance (together with performative arts). As we read in the Manifesto, one of the basic assumptions of this cinema is replacing „actors with performers, that is people who can present something authentically in a way specific to themselves. At the same time, let’s remember that performers don’t have to be artists. Moreover, let’s understand that they can be actors who can use their technique as a tool for their self-expression” (Oskar Chmioła, „Performative Cinema Manifesto”, Sopot, July 30th, 2020.

http://chmiola.com/performative-cinema-manifesto/).

What does a movie, in which the characters are not played by actors but presented by performers, look like? You could find out about it watching the premiere show of the „Breeze – First Performative Film”.

According to the PWN Encyclopaedia, breeze [Fr. brise], is a „local wind associated with air circulation, which arises above ground with different thermal properties”. The titular Breeze is a metaphor for a fresh perspective on cinema, performance, lifestyle, ways of communication, and an encouragement to look towards the direction from which they come. This direction, i.e., the source of this idea is drama-culture, and sensitivity coupled with peculiarity are its essence. The ground over which it spreads is techno-culture, the essence of which is measurability and normativity. The circulation of these two ideas’ influences is specific to human civilization. The film is an indication of drama-culture as the one that moves and techno-culture as the one that shapes. In the film, drama-culture is represented by atypical performers and unusual behaviours, and techno-culture – by passers-by (residents, tourists, and employees watching and reacting) with typical and everyday behaviour. The message of the film is to show that these two ideas can coexist in harmony while remaining in constant dialogue. It is an attempt to draw attention to the fact that our social and philosophical disputes are a kind of regulatory system of the human community that reacts to a changing reality, the reality of a nature that is broken, defective in places, and therefore constantly in motion. The film shows performativity as a survival strategy in such a world.

It is worth adding that the film is based on the assumptions of Gilles Deleuze’s image-time, and is even a delicate attempt to go further in creating an image-crystal (image-cristal); a tale of an ACTIVE presence of perfect visionaries (pure voyants); a presence of people who are a minority (minoritaire). It is a film about the activity and sensitivity of people who are missing (un people qui manque). Moreover, the film shooting in Sopot was a cultural event, a kind of presentation of performances in which anyone could take part as a viewer. Additionally, the film hides a performative statement, a mysterious trace, a message left by one of the visitors. In this way, the film has a character of a promise, it performs in the viewer who can read this message if they visit a specific place from the film.

It is also important that the whole project (which is the film and the manifesto) is

“[The author’s] inspiration from film productions with performative elements in the field of public space interventions, such as Polański’s ‘Two Men and a Wardrobe’, Jodorowski’s ‘La montaña sagrada/The Holy Mountain’, Carax’s ‘Holy Motors’, Cammell and Roeg’s “Performance”, and slightly more distant fascinations with Barney’s ‘Cremaster’ cycle and ‘Electroma’ from the Daft Punk duo” („Faith, mission, harmony. On ‘Breeze’ by Oskar Chmioła”, dr hab. Bartosz Wójcik, 15.12.2020 – file to download here -> Faith, Mission, Harmony. On Oskar Chmioła’s Breeze).

2020 — online premiere of the project “Breeze — the first performative film”, Goyki 3 Art Inkubator, Sopot