The Afternoon of a Faun, 2min., Japan
Directed by Fuyubi Kusamori
"L'Après-midi d'un Faune" emerges as a contemporary digital meditation on Debussy's timeless masterpiece, itself born from Stéphane Mallarmé's symbolist poem of 1865. This music video transcends conventional boundaries, weaving electronica and noise music into a sonic tapestry that honors the impressionist legacy while boldly venturing into uncharted territories of sound.

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Get to know the filmmaker:

What motivated you to create this film? For commercial purposes. I had composed a rather delightful piece of music and found myself compelled to give it visual form—rather like a gentleman who, having penned a charming letter, must needs find the perfect envelope.

From the idea to the finished product, how long did it take for you to make this film? Three months—a period during which I learned that time, much like Debussy's harmonies, has a curious way of stretching and contracting according to one's creative temperament.

How would you describe your film in two words!? Multi-genre crossover—though I confess, dear reader, that reducing any work of art to mere words is rather like trying to capture the essence of cherry blossoms in a telegram.

What was the biggest obstacle you faced in completing this film? Despite its modest duration, the abundance of source materials proved most vexing. Synchronizing them to the musical narrative was akin to conducting an orchestra of particularly willful cats—each element demanding its moment of glory.

What were your initial reactions when watching the audience talking about your film in the feedback video? A precious experience absent from other festivals thus far. There is something rather extraordinary about witnessing strangers navigate the labyrinth of one's imagination—like eavesdropping on a conversation about oneself in a foreign café.

When did you realize that you wanted to make films? After the proliferation of AI video generation tools. Technology, it seems, has democratized the divine act of creation, though whether this is blessing or curse remains delightfully ambiguous.

What film have you seen the most in your life? Godard in general—that master of cinematic rebellion who taught us that rules exist primarily for the pleasure of their elegant transgression. La Nouvelle Vague flows through my veins like afternoon tea.

What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career? Profit sharing—for even we artists must occasionally attend to such mundane matters as sustenance and shelter, lest we expire picturesquely but inconveniently in a garret.

You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site? A magnificent platform that grants equal opportunity to cinéphiles worldwide—truly democratic in its embrace of global artistic expression. Vive la révolution numérique!

What is your favorite meal? Croissant aux amandes—that perfect synthesis of French refinement and almond-scented indulgence. Much like my film, it represents the harmonious collision of seemingly disparate elements.

What is next for you? A new film? For now, I have group exhibitions and solo art shows awaiting my attention. Once these earthly obligations are satisfied, I shall inevitably return to the twin muses of cinema and music—for they call to me with the persistence of morning larks and the allure of forbidden fruit.