The "Pencil" Concept

Another angle of cinematographic vision
This is a pencil (designed by Ralph Nauta & Lonneke Gordijn, Studio Drift, Netherlands). Not how we usually see it, but it is still a pencil. It's a good example of how one object can be viewed depending on the artist's thinking. It's useless to debate whether it is a bad or a good another way of thinking, because it's neither. It's another. Unfortunately, "another" or "unusual" tends to be more negative because it requires different thinking and perception, which is difficult to invite people to. But another way of thinking and perception, doesn't reject or blacken the usual one, it gives opportunities to see the object from different angles. It's a crucial experience for any form of art, and cinema is not an exception.

Oksana Belousova
CEO & Founder of MY KINOROOM, Film Director
I thought of films that could have this "pencil" concept undermining the well-established cinema rules and came up with a few examples, nothing personal, almost chronological. Even though these films are considered to be culturally significant, most people don't like or even hate them because "they don't see the usual pencil they are used to":

"An Andalusian Dog" (1929) by Luis Buñuel and Salvador Dali, where they attempt to experiment with unrelated images.

"The Color of Pomegranates" (1969) by Sergei Parajanov, a surreal biography of Sayat Nova depicted through non-narrative poetic images.

"Dogville" (2003) by Lars von Trier, which is still hardly accepted as a "traditional" film.

"Eraserhead" (1977), the most provocative and daring film by David Lynch, the most still find it disgusting despite the fact the film touches essential life questions. Also, it has a bizzare pencil scene, which explains the title of the film and its main idea, and also throws us back to our "pencil", but which one? The deconstructed or the usual one? Or even different one?

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