hadn’t paid enough attention. I must admit, when I was a student, I found the film history of the silent era (covered in the first year) quite dull – a feeling I later came to regret. What matters is that we chose not to adhere strictly to the film language of the original era. While we drew inspiration from silent film techniques – such as stop motion, double exposure, and other visual tricks – we allowed ourselves to incorporate elements that weren’t possible during the silent era, like certain camera movements and lighting techniques. Our goal was to create a silent film that remained faithful, to some extent, to the aesthetic of early silent cinema while simultaneously making it clear through its film language that this is not a piece of found footage, but a contemporary creation. We believed that the texture of black-and-white film, combined with the consistency of the story, soundtrack, and acting style, would create enough unity across the episodes to be perceived as a cohesive feature-length film, rather than separate shorts. Even though the episodes might employ different stylistic elements – for example, one using stop motion and double exposure, another incorporating unique camera movements, and a third using painted clouds and drawn storm lightning it wouldn’t be jarring. These variations would enhance the narrative structure, staying true to the spirit of the project. The subtle differences in visual styles across the episodes are intentionally tied to their thematic content, as each episode represents a distinct perception of reality. The first episode depicts reality (or at least what we accept as reality). In the second, hallucinations emerge, visualized through techniques like stop motion, double exposures, and half-frame tricks. The third episode delves into imagination, while the fourth likely returns to reality but shifts into an aggressive scene – or, if not reality, then paranoia, conveyed through unusual camera movements and damaged footage. The fifth episode transitions from a romantic dream – featuring smoke effects, painted clouds, a Moon, and drawn storm lightning – into a nightmare. The sixth episode remains firmly in the realm of nightmares, the seventh returns to reality, and the final episode blurs the line between reality and nightmare. These varied contents justified the use of diverse visual styles, while the consistent texture of the film material, acting, and music provided the necessary cohesion across the episodes. Since we decided to make a narrative film based on an original shot on 35mm, we temporarily set aside all 8mm technologies and opted for the closer 16mm format. For the exteriors, we chose 32