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Fiction, Experimental ㅣ JEONJU Cinema Project: Next Edition - International

I've Seen Water

Blake WILLIAMS
Canada 90min 3D, 4K Color/B&W Fiction, Experimental
Production StatusProduction
Goal of ParticipationFundraising
Production budget86,727.00 USD
Budget Required63,000 USD
Secured budget
  • Canada Council for the Arts[Research & Development Fund] : 18,566 USD
  • BlueMagenta Films[Self-funding] : 5,161 USD
LOGLINE

A woman goes blind and begins questioning reality after her vision is partially restored by an experimental bionic eye device.

SYNOPSIS

Emm is an artist who works in video and performance. After going blind due to an accident, she volunteers to be a test subject for a new and experimental bionic eye device, which transmits video from two wearable cameras to the optic nerve in her brain, partially restoring her vision. After the company developing the technology suddenly files for bankruptcy and ceases operations, Emm continues to live with the device for several years. With the help of her creative partner, Bea, she learns to use it as a tool for creating new work until they notice something quite unusual about some of the images produced by the device, which leads them to investigate the cause thoroughly.

DIRECTOR’S STATEMENT

I've Seen Water is a narrative science fiction film that draws on recent development in neuroprosthetics and generative artificial intelligence to reflect on the present moment, when the veracity of nearly all visual information is unreliable. My work strives to use cinematic poetry to elevate common situations to an ecstatic realm, appropriating sci-fi, disaster, and horror genre tropes to depict the world at its most unstable and irrational. Likewise, stereoscopic (3D) imagery—a core formal element in my practice—lends another degree of estrangement, elevating reality into hyperreality so we can see more clearly. Inspired by real events, this project confronts our rapidly evolving relationship to medical engineering and technological mediation, as well as the AI boom, arising out of a sense that the dystopian visions of science fiction are becoming indistinguishable from contemporary life.

INTERVIEW
What inspired you to start this project?
My work strives to show things, places, and people being utilized, explored, or behaving illogically and/or in a historical way. Thus, I am often inspired by new and emerging phenomena and technologies which are not yet classifiable or which do not yet have an understood function or purpose. About ten years ago, I became aware of the development of bionic visual prosthetic devices, which aim to restore vision to the blind, and I immediately became excited by the idea of making a film about this technology. It conjured so many utopian desires and fantasies in my imagination, so similar to what I felt watching and reading science fiction films and literature when I was young. Occurring alongside the AI boom of the last few years, these advancements opened a vast space for formal and conceptual exploration, especially within the context of my interest in stereoscopy. When one of the leading developing companies of this device abandoned the endeavor—despite having already implanted it in over 300 members of the blind & low-vision community—this project gained a new sense of urgency. I'm excited to create a film that reflects on this intensely volatile and ambivalent moment in the modern evolution of vision.
Is there any emotion you want the audience to feel after watching this film?
When I make a film, I am most interested in evoking emotions related to mystery and curiosity in the viewer. Cinema is filled with images that tell the viewer what to think and how to feel, even though living in and moving through the world is an altogether strange, present, and always unknowable experience. While this film is dealing with what I believe are very important topics related to the future of our agency with respect to our bodies and creativity, I hope that it invites viewers to see and feel sensations that are new to them, which exist outside of the distortions upheld by tech capitalism, social conventions, and everyday routine.
DIRECTOR
Blake WILLIAMS
Blake was born in Houston, Texas in 1985, and currently lives and works in Toronto, Canada. He specializes in stereoscopic (3D) filmmaking, and has directed two features, including Prototype (2017) and A Woman Escapes (2022), in addition to short works such as Laberint Sequences (2023), 2008 (2019), and Something Horizontal (2015). In 2021, he co-founded the production company BlueMagenta Films, which specializes in independent film productions made using stereoscopic media.
Prototype (2017), A Woman Escapes (2022), Laberint Sequences (2023)
PRODUCER
Marco GUALTIERI
Marco was born in Montreal, Canada in 1979, and currently lives and works in Toronto. He has produced two features, including Prototype (2017) and A Woman Escapes (2022), as well as several of Blake Williams' short works, including Laberint Sequences (2023) and 2008 (2019). In 2021, he co-founded the production company BlueMagenta Films, which specializes in independent film productions made using stereoscopic (3D) media. Marco is also a professor in the Department of Mathematics at the University of Toronto.
Prototype (2017), A Woman Escapes (2022), Laberint Sequences (2023)
CONTACTblake.williams@utoronto.ca
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