Construction Lines
Synopsis
CONSTRUCTION LINES shows this iceberg home rendered as a 3D model, using the original architectural plans and the software ‘Sketchup’. The narrative of the film, the model of the home, and the scenes played out within it, are informed by the objections filed against the planning application, as well as online articles speculating about the lives and lifestyles of the super-rich.
Official Selection at Aesthetica Short Film Festival 2017 - World premiere
Official Selection Hamburg International Short Film Festival 2018 - Deframed Competition - International premiere
Details
- Year
- 2017
- Type of project
- Shorts
- Running time
- 7 mins 41 secs
- Format
- HD Animation
- Director
-
Max Colson
- Producer
- Max Colson
- Executive Producer
- Max Colson
- Editor
- Max Colson
- Screenwriter
- Max Colson
- Director of Photography
- Max Colson
- Production Designer
- Max Colson
- Sound
- Max Colson
- Composer
- Audionautix
- Principal cast
- Paul Bailey, Sandra Pearlmutter
- Film Awards
- Winner, Tenderflix Artist Video Award 2017; Winner - Best Fiction Short - Architecture Film Festival London
Genre
Categories
Production Status
Production Company
Max Colson Film and Video
Max ColsonSales Company
Max Colson Film and Video
Max ColsonPage updates
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See also
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As Time Swallows Time
Director: Rosario Hurtado, Roberto Feo, Stuart Bannocks
Year: 2025
AS TIME SWALLOWS TIME weaves fragmented narratives into a poetic dialogue between two entwined inquiries. The first engages with the curatorial focus of BIO28 (Ljubljana Design Biennale), which interrogates the historical symbolism linking women to flowers - figures of fragility, sensuality, and objectification - and the ways these associations have been reclaimed and subverted. The second unfolds as a speculative exploration of time and temporal perception as forces shaping human consciousness and evolution. Together, these threads compose a meditation on transformation, perception, and the cyclical nature of existence. Constructed through the juxtaposition of narrative fragments, the film layers scenes in a manner that invites viewers to navigate and reassemble its temporal and conceptual terrain. The film presents a dialogue between the Ljubljana Biennale’s curatorial theme, “Do You Speak Flower?” which explores the historical contexts in which women have been symbolically linked to flowers—figures of fragility, sensuality, and objectification—and how those associations have been reclaimed and subverted, and this theme directly, and the authors speculative exploration of time, temporal perception and post humanity.