Drill

The filmmaker focuses on the entrance to the company dormitory where he lives, centering the film on a single pillar. By warping the spaces to the left and right, he creates an unstable, distorted visual field that resembles anamorphic painting, where perspective is deliberately skewed to challenge normal perception.

Made using a large number of still photographs, like his earlier works SPACY and BOX, the film gradually builds tension through its fragmented imagery. The composition shifts from static observation to a sudden, violent movement that disrupts the quiet scene, yet the overall effect remains poetic and contemplative.

Through this experimental technique, the filmmaker explores how space and time can be manipulated in cinema, turning an ordinary architectural feature into a dynamic, almost abstract subject. The result is a short but intense meditation on perception, motion, and the boundaries of visual storytelling.