Music Videos
I have always preferred watching a performer perform. Music videos need no plot beyond these sharply defined characters, laying bare—or hurling—their souls at us. Over the years, making music videos has occasionally allowed me to use songs I love as inspiration and as an anchor—a laboratory for experimenting with formal ideas, a canvas to sketch on with bold, sparse lines.
Vending Machines / Michal Dar
(2022)
Music Video, 03:10
Cinematography by May Abadi-Grebler
Light and Movement by Batel Dotan
Light and Movement by Batel Dotan
3 single-take recordings, layered over one another. Shot in darkness, a dancer with a single flashlight creates shifting compositions and edits by her movements around the popstar.
The Captain / Amy Mcknight
(2018)
Music Video, 04:55
Camera Assistance by Yonatan Swed
Taking the POV of the song's subject in an interpretive tug-of-war, I acted out a strained, rocky relationship drama with the singer.
The camera operated by performance, choreography, body weight, and sand, I merely try to stay in focus.
The camera operated by performance, choreography, body weight, and sand, I merely try to stay in focus.
Check Badoar / Ryskinder
(2018)
Music Video, 03:30
Projection by Ann Deych
Ryskinder uses a looper. I wanted to use a looper.
5 Dakot / Ashkara Metim
(2011)
Music Video, 02:22
PHOTOSENSITIVE WARNING !
FLASHING LIGHTS AND IMAGES
For this song about an acid trip, I wanted to recreate the "bird in a cage" optical illusion (the thaumatrope), things appear together when separated far in space and time. Editing frame-by-frame was an experience.
22:22
(2022)
Audio-Visual Performance, 13:03
In Collaboration with Itamar Hammerman
Performance by Michal Dar
Performance by Michal Dar
(Captured on phone by someone I don't know)
On her looper, Michal builds her lament glacially, layer by layer. At the turn of each loop, a webcam snaps a picture of the stage, projecting it back on her. Echoes upon echoes upon