directed by Benjamin Filinson

The  importance of the title and a director's statement when it comes to  experimental films is as necessary as the title of a painting of any  artistic current and as the title of a poem. The instinctive perception  of the receiver is fundamental, but the author's message is decisive, as  he can guide the audience gently without interfering in the formation  of the personal idea or sensation.

"Reflections  & Projections is the culmination of combining the mediums of  painting, still and motion photography to capture the human condition of  how we see ourselves in others, through emotional triggering, the way  we unconsciously lay our expectations and blames upon them [...]".
So says about his creation Benjamin Filinson, director of this experimental film produced in Los Angeles in 2018.

This eighteen-minute film is divided into two parts that break apart at the tenth minute.

In  the first part, Reflections, the focus is placed on the words that are  read superimposed in the female body that is portrayed and exposed. It  seems a dialogue between partners in which the questions and answers  that are read alternate fluidly, getting formed and dying in the images  below that depict women's bodies, women's faces, faces painted inside  the body of a woman who multiplies and separates continually but whose  face always remains in dim light.

The only moment of realism is  entrusted to a black cat that has the task of taking us back on the  ground, giving us the same feeling that you get when you are brought to  shore by a calm wave after being overwhelmed by a ' more violent wave. 

The  music is perfect because it conveys a sensation of birth, growth, and  death, typical of the waves, and therefore follows the rhythm of the  film coherently.

In the second part, Projections, the music  changes and loses this sensation of crescendo and diminuendo but becomes  more static and constant, perfectly following the style of this second  story, in which the images take over the words. The vision becomes  clearer, the bodies double as in a broken mirror. The woman now seems  less pure, less ancestral, contaminated. Sexuality prevails over  interiority, it is more brazen and exposed. In this second part, the  external element that suddenly appears is the face of a man, who, like  the cat in the first part, drags you down and for a moment makes you  stop floating with images and words. 

The moment in one of the  superimpositions in which the face takes shape in the body that lends  itself to the face and whose breast is transformed perfectly into an eye  is beautiful. A cry to femininity that seems to be, in silence, the  constant theme of this beautiful work.