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Deimantas Narkevičius’ most recent film Čiulbanti Siela (Twittering Soul) is part of the international competition at the International Film Festival of Marseille (FID), where it will be screened from July 4 - 9.

To learn more about the programming of the International competition, follow the link.

To read an interview with the artist, follow the link.

Since the 1990s, Deimantas Narkevicius has been challenging the order of time and history and the evidence of images and stories. This costume drama takes us to Lithuania at the end of the 19th century one summer afternoon in the countryside. An entire microcosm bustles about in the woods, fields and sheep shed: an old governess, some young women, a musician with failing eyesight, a dead woman… along with fairies, elves and spirits. As a local scholar tries out stereoscopic viewing, which was in vogue at the time, we’re invited to put on 3D glasses to enjoy this journey through images. From one viewing device to another, Deimantas Narkevicius has fun destabilising our expectations. Magic, images, appearances – who believes who? Who sees what? Is film illusion? If so, why not take the paradox further? Perspective? Narkevicius cheerfully inverts it, playing with the improbable scales of the characters moving through the landscape, thwarting the effects usually sought from 3D. The crossover of enchantment techniques is used to create a poetics and politics of the image. Twittering Soul’s imagery-fuelled retelling of folk tales blends pre-modern thought and practice with technologies past and present in a way that goes against the mainstream. Free of nostalgia, in a marvellous tone, this fable about belief challenges modernity using modernity itself and its own tools, whilst continuing to make use of what it thinks it’s shrugged off.

Nicolas Feodoroff