CREDITS

Directed by Enya Belak
Produced by Eve Dautremant-Tomas
Cinematography by Aadhar Gupta
Edited by Victoire Seurre
Sound design by Anser Soomro

Cast
Elif Knight
Clive Saunders
Roseanna Frascona
Olivia Anastasiades
Alexander Devrient
David Bettega

Screenplay: Eve Dautremant-Tomas & Merissa Russell-Hammer
Music: Joe Brooks
Costume Design: Alexandra Kapsala Greenwood & Eimear O’Reilly
Production Design: Jason Kelvin

Story Enya Belak I Eve Dautremant-Tomas Assistant Art Director Sabina Belak Make-Up & Hair Artist Tamara Kay Assistant Make-Up & Hair Artist Sadé Bianca Steadicam Operator Aleš Belak Camera Operator Aadhar Gupta Focus Puller Anna Gudbrandsdottir I Ian Coffey Second assistant camera Nick Galbusera Gaffer Sam Robinson-Horley I Pascale Neuschäfer Spark Steven Carver I Rory Tilford Sound Recordist Anser Soomro Boom Operator Liu Yubo Line Producer Maria Alonso Production Manager Yi Hu First Assistant Director Arturo Olivares De Libero Second Assistant Director Francesca Alber Script Supervisor Harriet Baker Runner Angela Faillace I Melanie Jansen Executive Producer Jean-Philippe Tomas I Blaž Jelnikar I Teleking, Ljubljana Mastering & Color Correction Teleking, Ljubljana Colorist Fran Sokolić Post-Production Supervision Zoran Mihailović Post-Production Producer Martina Lajtner Re-Recording  Mixing Phillippe Ciompi Still Photographer Jani Peternelj I Maya Djurdjevic Graphic Design Odtisi @ Handprints Miha Deisinger I Jani Peternelj

THANK YOU
Jasna Bauman I Aleš Belak I Tracy Boyd I Don Butler I Callum Cameron I Jonathan Curling I Sophie Dautremant I Marine De Cara I Laura Deisinger I Marta Deisinger I Ludvik Deisinger I Maja Delak I Lorena Fava I The Flypit I Charlie Gracie I Robin Griffiths I Erika Kamlert I Marko Kočevar I Borut Ličen I Annika Nielsen I Cécile Pittet I Radiator I Melissa Ramos I Tatjana Razingar I Marko Razingar I Simon Savory I Maja Skubic I Sašo Štih I Janja Šivec I Simona Tepeš I Rohan Tripathi I Amanda Woolley

© Goldsmiths, University of London 2016

ABOUT

A life is made of moments, pieces of a puzzle engraved in a world of senses. You shall now meet Zoe, a beautiful flame divided through the darkness of her addiction. The film presents several moments of Zoe’s life. A moment of childhood, uncontrollable need, with her sister, daughter, and father. Zoe partying and making a fatal decision. In all these moments, her loved ones observe her, resent her, love her

This captivating work addresses the viewers to such heightened and multilayered experiences, and to an insightful and cliché-free exploration of the concepts of memory and love.
[Francis L. Quettier and Dora S. Tennant, WomenCinemakers / Special Edition]

DIRECTOR STATEMENT
I remember the story my mom used to tell me to explain the pure pleasure of a first high on heroin: ”The first hit feels like you are flying a kite. You are catching a balance between the ground and the sky. You emerge with the kite and the sensation of the momentum it gives you is a satisfactory and pure joy. Obviously, you want more but it is never the same. You are catching the same moment, but you can never reach it and then the addiction begins…”

Luminary is visual poetry. The narrative line follows the idea of expression of memories and thoughts hidden into a palette of emotions.

The intention was to explore the emotional journey of Zoe’s everyday struggle. How a woman deals with the pain, loneliness, their escape into the imaginative worlds and on the other hand how the drug, precisely heroin addiction, affects relationships.

This memory influenced each part of the creation. When you start digging in the deepest and darkest corners of humanity you realise how lonely we can be sometimes. I wanted to capture the sensations and fears, and on the other hand ecstasy and joyfulness.

Questions are not meant to be solved. The direction I was interested in was to provoke Zoe’s fragility through the vagueness and open questions about the instability of her mind-set. Unpredictability of human nature, instant emotions, duality of persons perceptions are the under layers of the story structure. I was interested in exploring the transition between surreal-real worlds as sometimes they get emerged and we cannot define the state of mind.

Is it a dream? Hallucination? Bad trip? Reality?
All blurred together?

Enya Belak