I found it important not to interpret or point out certain things, so the characters and situations of the film can exist independently. I tried to stay neutral, to reveal, to present rather than form an opinion. I do not wish to offer a solution or a moral.
The basic idea of the film lies on an interesting human behavior, when witnessing an unknown situation, we unconsciously put it in context according to our own ideas. I wanted to utilize this and have the viewers automatically find their solutions for the given situations.The scenes are interlaced by diverse visual, auditive, sensory or other impressionistic associations. It was important to create a temporal and spacial structure that can tie together all the different locations and characters, so that the viewer can travel seamlessly.
Although the first phase of the making of the film was completely intuitive, in the course of the development a more concrete theme was unfolding and the scenes started to get arranged around it. These 47 observations are focusing on the interactions of humans and nature. Differences between human and animal diminish, everyone is doing their jobs and leaving traces. Every small movement affects another, building an unpredictable, irrational system. I find it soothing that the world around us is often irrational.
The fox, with it’s attempt to describe the material world, the rules of tiny particles that secretly determine our everyday life, sets another world in motion. We wander further and further, to the Milky Way in the fortune-teller’s crystal and it’s cosmic scales. After peeking into 47 scenes, we fall back to the forest, from which we were spying the same universe in the form of a star-spotted sky.
Réka Bucsi
Berlinale Shorts 