“It is composed as a synchronic and diachronic synthesis and subversion of images and sounds. The inversion of codes, as well as their juxtaposition, constitute the film’s central creative strategies and, therefore, the key for its interpretation. A succession of indirect references and games, subversively comment on aesthetic theories and specific artworks.”

In her first feature Idees Fixes/Dies Irae (Variations on the Same Theme), Angelidi establishes the experiments with static imagery and fusing language polyphony that would come to define her film work. The formalist games are more playful and accessible here, very much connected to the juxtaposed poetic cinema of the 1970s.

I have been interested in three questions since the beginning: the importance of cinematic writing as juxtaposing dialogue of the elements of heterogeneity, the research of borderlines of cinematic representation, and the incorporation of the creator’s subjectivity in the film. It is composed as a synchronic and diachronic synthesis and subversion of images and sounds. The inversion of codes, as well as their juxtaposition, constitute the film’s central creative strategies and, therefore, the key for its interpretation. A succession of indirect references and games subversively comment on aesthetic theories and specific artworks.