The story of Embodiment takes place in a future hypothetically close to us where artificial intelligence has taken control of existence and thanks to the use of an algorithm, the life of a human being knows no end.
Through the algorithm that reiterates in a continuous loop the memory data of human beings, the Corporation ensures humans to save them from death, condemning them, however, without their knowledge, to the weight of infinity. The only way to escape this infinite reincarnation is to choose to be erased permanently, so that the algorithm cannot reinitialize a new cycle.
Jette, the protagonist of the short film with a dystopian and provocative mood that combines the language of science fiction and experimental cinema, is chosen by the Corporation as an ‘obliteration agent’ whose task is to give relief to customers who decide to end the infinite succession of lives, in which everything is transient but nothing can be extinguished.
The content is deliberately abstract and metaphorical with the intent to convey the theme of homologation of thought and media control defined by a system that serves the logic of overproduction.
“…We wanted Embodiment to become an element of rupture and provocation. To reaffirm fashion film as a tool for artistic exploration and experimentation. Art should create a reaction. We live in a time of accelerated communication, but also of chronic loneliness, because priority is given to information and reiterated content, fast and short, while our soul needs time, complexity and depth. Our responsibility as creators is to encourage a change to interrupt this assembly line,” in the words of Ced Pakusevsky.
“To have succeeded with the film “Emboidment” to create a work in which the soul of my feeling, fused with that of Ced, tells in a sincere and direct way, without futile barriers what I wanted and we wanted to say is extraordinary and not so obvious. I have always been convinced that fashion must regain its deep culture, both educating but above all proposing to the public something that makes us all more aware of it as a powerful means of expression, because when we wear it, (willingly or unwillingly) we always tell something about ourselves, to ourselves and to others,” confirmed Barbara Bologna, for whom the combination of fashion and cinematography is a new anthropological and cultural language of fashion itself.