Sarah Dobai

Twenty Second Hold

Drawing on the vocabulary of the film still and tableau vivant, the film witnesses actor/ models preparing and performing a series of choreographed still scenes based on common cinematic and everyday scenarios. At the centre of the film is the use of cinematic devices to draw an audience into the fiction of the still enactments. Short sections of footage shot ‘between takes’ interrupt these evocative passages, addressing the audiences will to suspend their disbelief or be reminded of the conditions of the films production.