Through An Ongoing Exploration of Identity
and Impermanence
Across the past decade, my work in avant-garde cinema and video art has traced a continuous thread through memory, identity, and transformation. These short films are not bound by traditional narrative structures; instead, they emerge as fragments—emotional, philosophical, and deeply personal—inviting the viewer into shifting inner landscapes.
Chernobyl of Love (2012) marks an early exploration of разрушение and intimacy, where the notion of catastrophe becomes inseparable from human connection.
From there, a constellation of works unfolds: Comeback to the Trees, Purification, and The Beauty of the Shadow (2013) reflect a search for renewal and transcendence, while films like Mutability and Misery of My Soul delve into the instability of identity and the weight of inner conflict.
In Mémoire Involontaire [Involuntary Memory] (2014), I turned toward the subconscious, drawing on the poetic echoes of involuntary remembrance. This inquiry continues in On Being an Angel and later in Simone de Beauvoir told me (2016), where philosophical reflection and feminine subjectivity take center stage. Works such as In the Name of the Father (2018) and Nostalgia (2022) expand into questions of heritage, time, and emotional inheritance.
More recently, Patriarchal Sabbath (2023) and Migratory Romance (2026) confront social structures and movement—both physical and emotional—suggesting an ongoing evolution in both form and perspective.
Together, these films form a living archive: a meditation on impermanence, the unseen, and the fragile poetry of existence.
— Monika K. Adler, London, 2026.
