The beginning is another movie, an american noir of the early 60s: gutted and disemboweled, tortured and “detourned” images organize themselves into precarious and evolving structures, intertwined in multiples and twisted plots in a state of permanent collapse. The aim is to incite the explosion of a closed system through a dispositive of audiovisual implosions. Forget what you see while you are actually watching it, and soak in a vibrating, optical ancestry. A scream without a reason.
There is a distance (short, eternal) between us and our image of reality. Even between thought and action, between thought and language, there is a similar lapse, necessary to transmit the signal via electrical impulses from the brain to different parts of the body. “Miss Candace Hilligoss’ flickering halo” is a film about this distance, about the interval simultaneously separating and uniting, the silence between words, the black between pictures. It ‘s a film against the dialectical opposites in cinema, assembled according to the Heisenberg’s uncertainty principle and the use of the phenomenon of retinal persistence as an expressive tool. Vincenzo Core, sound director, believes the audio element is not just a naturalistic comment of pictures, but rather a counterpoint between sound and images able to turn the experience into a real “audiovision “.