From shot bins and short films, composed of residual, fragmentary, or unfinished images, a film is constructed through random, real-time editing. This process is made possible by a JavaScript program that orchestrates the sequencing of shots, sounds, and music, without any predefined hierarchy or narrative.
Drawing on the theories of Sergei Eisenstein, for whom editing is above all a collision capable of generating meaning, I propose a film in which images normally set aside and excluded from the final cut are reactivated. Assembled in real time by an algorithm, they encounter each other, collide, and respond to one another without direct human intervention.
From these unforeseen confrontations arise new associations, visual and sonic tensions, and unexpected ideas. The film thus becomes a space of emergence, where chance, the machine, and the memory of images together participate in the production of meaning.