KOMODO [2020]

In our performance society, we are no longer governed by commandments, prohibitions and rules, but by projects, initiatives and motivation. That sounds positive, but it is not. Our actions are dominated by as much production and consumption as possible, and not by the protection of what is essential to us, such as meaning and relaxation. The neo-liberal market thinking makes us performance individual projects, which are permanently exposed to stimuli, information and impulses. We do this to ourselves, we impose these restrictions on ourselves. We make everything transparent, no more secrets, banish the “Other”. I seem to be seized by an anxiety. In KOMODO, one enters a speculative, pre-subjective field of desire. An existence where nothing is clear. Where everything turns out to be unregulated. In which we try to give structure to everything. Hides a true search for nothingness. The movie loses control over affects and thoughts. It lets you hallucinate in the act of reshaping and re-visiting “what could happen’. It fragments individualistic modern day society into individual chapters. It carries you through a world where desire is the new currency and where a new species is born, performed by Lisette ros and Jochem Ruarus themselves guided by a various realms of music and sound-design by Aengus Telford. KOMODO is a political acid trip.