Sebastioan Diaz Moralez

I’m interested in situations; I’m interested in life itself.

Nevertheless, I do not trust in the appearance of reality as it is showcased to us in mainstream culture. I like to believe that the surface hides deeper clues and essential mechanisms. Like archeologists, we need to dig in order to excavate what lies beneath.

I am interested in unveiling the simulacrum, or appearance, from the situations that I capture or recreate. To do so, I utilize the same resources and codes, as do other filmmakers, yet I also let the images communicate with a language of their own. The clash generates conflict, which hopefully raises questions. In fact, it is this process of forming questions, which takes us forward.

It has been said that with the help of new technologies we can invent a narrative structure that does more than just illustrate reality. Illustrating is what most cinema does, but that is not what I’m interested in. What interests me is fading reality in order to see it in its most absurd and raw shape. This bleaching of reality helps me not just to transform my senses into forms and ideas, but into energy and force.

I experiment with various filmic genres, forms of expression, and styles. My work is evocative of memory fragments, or travel impressions. My work resists categorization—it is not merely film, not merely documentary, not merely art. It is a hybrid poetic form that expresses my interest in socio-political issues, language, and life itself.

My work articulates the process of exposing and disassociating with the symbols of power, of society, or of communal ideals. This inversion sometimes triggers a mis-en-scène of apocalyptic scenarios. That is the way it should be. If what we take for granted vanishes or proves to be fictitious, we are left either in utter chaos or at the very beginning, where the newly unmasked civilization will be forced to once more reformulate its reality.