El Impulso
Like lava from a volcano, the impulse manifests itself in the human body in movements that can be clearer than words. El Impulso is a meditation on the choreographic aspects of Havana-based physical company Impulso's work.
Interview with Editor/Director Orsolya Szantho
Congratulations! Why did you make your film?
This short is one of the first projects where I truly felt like I was beginning to find my voice as a filmmaker. It was filmed while I was living in Cuba back in 2017, which coincided with the time I was starting to develop an interest in theater as an additional field for my practice. I was particularly interested in meeting theatermakers working in community and physical theater, and Impulso Teatro’s work was simply captivating. There was something unique about the way they work with physicality and the body in devising and composition that felt mesmerizing even for a wider audience.
Imagine I’m a member of the audience. Why should I watch this film?
Even if you are not a theatermaker, or maybe especially if you are not one, this film can offer a short contemplative break from the business and alienation of day-to-day life. The world today often makes it impossible for most of us to find grounding in our bodies and physical reality -we often have to either work our bodies to exhaustion or get completely disconnected through all the technology that surrounds us. Watching these actors move with such immense focus in silence and listening to Alexis’ thoughts always reminds me of the power of being physically present in the here and now, and seeing where we can go from there.
How do personal and universal themes work in your film?
The film is quite meditative, so it is not immediately obvious how it would be relatable on a personal level. Universal questions around human creativity, and the role of the body in that process, certainly dominate. Still, I think there is something deeply personal in the quietest moments, in the actors' movements as they reenact abstracted versions of mundane moments in life. One of the most striking sections to me has always been the sequence of four actors piling upon each other while recreating the emotional landscape of a nightmare. The story they tell might not be easily recognizable, but the range of movements and the emotions they communicate can deeply resonate with people. Perhaps because I was also living in an environment where I had to rely on one of my weaker secondary languages, this aspect of the depth of communication that is possible purely through physical cues has always been a profoundly meaningful side of this film for me.
How have the script and film evolved over the course of their development?
In the initial phases of the film’s development, I was considering working with multiple companies that create physical work and approach the project as more of a collage of the different choreographies and movements present in the contemporary performance scene in Havana, but that shifted as soon as I got introduced to Impulso. From that moment on, I almost immediately had a strong vision for what I wanted the film to be. I knew that the focal point had to be on Alexis’ ideas and the actors’ physical work rather than a more character-driven narrative. In a way, the story of the film is the body itself, and its power to “create something from nothingness” as Alexis says. The only real challenge with this format was narrowing down the narrative to a size that did not feel too much for the slower, contemplative tone.
What type of feedback have you received so far?
One of the most touching comments I received was from a fellow filmmaker about how the editing in the film really supports the pace and tone of the narration and leaves room for the physical moments to be fully taken in, which meant a lot to me as an editor. People have also expressed their appreciation for the balanced, non-rushed pace itself, and the greatest joy has been that viewers who are otherwise not particularly interested in theater have also often found something engaging in the short, too.
Has the feedback surprised or challenged your point of view?
I don’t think any feedback I have received has really challenged my views on the film or what I have been trying to share by creating it. Usually, I would find this disappointing or almost alarming, but in this case, it’s a short piece and easy on the viewer, and there is ample room for interpretation. At the very least, there has not been resistance because it’s too short to suck- as one of my mentors would always say. (Which sounds silly but is actually terrific advice when making anything.)
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
The film has only really been shown at small local screenings so far, so I hope the platform can help share it with more people, even if it has been a couple of years since it was created. The themes in the film have continued to feel relevant to me, almost even more since we have had to start coping with the effects of the pandemic, so I hope it can serve as a reminder of the significance of physical presence in this strange time. I have also recently learned about Alexis’ passing, which came as quite a shock to me, and hope more people can get to know his beautiful way of thinking and continue building on his work.
Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?
I would love for festival directors and other film community or screening organizers to consider sharing the film in live, physical settings with their audiences, which I feel like the work presented in the film really deserves.
What type of impact and/or reception would you like this film to have?
More than anything else, I really hope the film can bring people closer to their own physical selves. Even if you are not in an inherently artistic field, I hope the film can help you think about how you can use your body, in whatever way that is accessible to you, to solve problems or create something new.
What’s a key question that will help spark a debate or begin a conversation about this film?
In a way, the most controversial question around the film for me is not so much about its content but maybe the format itself. Can a film exist even without a classic story at its core? Is only character-driven work worth making? Is a theoretical or conceptual approach inherently boring? These are all questions that have come up for me in the development process, and I think they’re all conversations and debates worth having, especially if you are a filmmaker yourself.
As for the film’s content, though, I think the most provocative question for me is the central message at the same time. What can the body achieve that words cannot
What other projects are the key creatives developing or working on now?
I have been working with three fellow artists on an international arts company, GLITCH, where we create multidisciplinary work across theater, film, and more novel, interactive and digital media. Our core team consists of three Chilean artists and me, and we are all from different arts backgrounds and often moving around, so collaborations can get both really varied and truly challenging. Over the past couple of years, we have created some shorts, animated music videos, lots of projection and interactive design for live shows, and we currently have a few theatrical plays and film scripts in development. You can check out more of our work on glitchworks.org
Interview: December 2022
We Are Moving Stories embraces new voices in drama, documentary, animation, TV, web series, music video, women's films, LGBTQIA+, POC, First Nations, scifi, supernatural, horror, world cinema. If you have just made a film - we'd love to hear from you. Or if you know a filmmaker - can you recommend us? More info: Carmela
El Impulso
Length: 6:27
Director: Orsolya Szantho
About the writer, director and producer:
ORSOLYA SZANTHO is a London-based Hungarian multidisciplinary artist who works across filmmaking, live performance, and interactive design. Her work and contributions in film have been recognized and screened internationally at festivals such as Sundance, New Hampshire Film Festival, Imagine Science Film Festival, and more. She has created design work for productions at institutions like The Kennedy Center in DC, The Longacre Theater on Broadway, The Juilliard School, The Hungarian National Gallery, Massachusetts Institute of Technology, Harvard TDM, Gamiotics Studios, and Broadway's Best Shows, among others.
Looking for: film festival directors and distributors
Instagram: @orsolyaszantho
Twitter: @orsolyaszantho
More info: orsolyaszantho.com