Director´s Statement

Travels in Reality was born out of my curiosity about how we construct meaning, from science, from stories, from fleeting perceptions. Scientific theories, especially those from quantum physics and consciousness research, fascinate me because they offer language and metaphors that stretch our thinking beyond the familiar, into the poetic, the uncertain, the beautifully unresolved.

This film is a cinematic thought experiment, a dialogue between image and text, between observation and imagination. The camera becomes an instrument not just for recording, but for intervening, bending light, splitting perspectives, and creating slippages between the visible and the imagined.

I am deeply interested in how technology alters voice, meaning and presence. The narration is my own, but processed through AI tools until it is changed beyond recognition, flat, metallic, generic. I am no longer there. This absence creates a deliberate awkwardness, the images are elaborate, handcrafted inventions, while the voice that travels through them has been emptied of human presence. Every frame carries the trace of a hand and the voice carries the trace of its removal, and what remains is a machine telling you, warmly and evenly, about wonder.

The narration itself is woven from fragments of human literature, lines from Emily Dickinson, Robert A. Heinlein, and others. One of the sentences has changed since the film was made. When I included Heinlein's question “Do you grok it?” the word still meant only what he coined it to mean in 1961 (to understand something so completely that you merge with it). By the time the film was released, "grok" had been adopted as the name of a contreversial AI chatbot.

Travels in Reality is an invitation to drift, to question, and to sense that fragile space between knowledge and wonder. It is a work shaped by doubt and curiosity, and by a belief that reality is not a fixed surface, but a sea we al travel together.