Intrakosmos is the working title of a science fiction short I will shoot in Havana this year. The film's provisional name is a direct allusion to Interkosmos, a soviet initiative aimed at including members of the armed forces of socialist countries in manned and unmanned space missions.
What is this project about?
Intrakosmos is the working title of a science fiction short I will shoot in Havana this year. The film's provisional name is a direct allusion to Interkosmos, a soviet initiative aimed at including members of the armed forces of socialist countries in manned and unmanned space missions, whose seventh joint space flight would make of Arnaldo Tamayo the first Cuban (and Latin American) astronaut in history.
My interest in this program and the 1980 joint Cuba-USSR space flight is not to underscore Tamayo's feat or to contribute new historical anecdotes to the narratives surrounding this event. It stems, rather, from my obsession with communist utopian thought, and with how this though has been linked, at different moments in history and to greater or lesser degrees, to images and discourses associated with space exploration and conquest.
Not to exceed 15 minutes in length, Intrakosmos will be a visually stunning piece whose tone will recall the epics of this genre produced during the 60s and 70s, peppered with some hints of the naivety and cheesiness of 1980s science fiction. The background to the story is a fictitious event that allegedly involved the crew of the joint Cuba-USSR space flight and the permanent residents of the Salyut orbital complex in September of 1980. This event is presented as a kind of spacio-temporal displacement to a “future” reality (described as “communist” by those who claim to have come into contact with it), and as the catalyst of a top-secret project named “Intrakosmos”. The film will only allude to these incidents and will focus on the strange events surrounding the life of a former Cuban astronaut, who appears to re-live the experience of that mysterious contact with a future civilization in the form of his own gradual disintegration.
Though Intrakosmos is admittedly aimed at a “select” audience, I feel it could prove more than interesting for a wide public (including those who have no direct or pronounced interest in the science fiction genre) because of the virtuoso cinematography and the novelty of its narrative content.
The achievements of the Soviet space program were divulged as part of a triumphalist and proud discourse, as the palpable confirmation of communism's technological and, one dare say, spiritual superiority as a system. Their description, however, also articulated or offered glimpses at a kind of enlightened confidence in technology, in its capacity to liberate humanity from all such hurdles as could result in suffering here on the earth. Gagarin's space-flight was one of the propaganda pillars of this “techno-centric optimism” in the 1960s, when the Party programme, drawing from the enthusiasm of the age, went as far as proclaiming that a truly communist society would be constructed by the Soviet people by 1980. In the 1990s, following the collapse of the socialist block, vestiges of this climate of utopian anticipation found expression in what has been termed a “nostalgia for the future”, in the proliferation of narratives about space exploration projects that were either abandoned or which ended in catastrophe, in what could have happened but didn't.
Intrakosmos seeks to insert itself critically within this phenomenon of a “nostalgia for the future”, to explore some of the consequences of the dissolution or dissipation of utopian thought following the collapse of the socialist experiments in Russia and Eastern Europe.
Why am I seeking financial support for this project?
The financial contribution I have requested through Yagruma, plus personal funds I intend to invest in the project, will be destined to the production of the original music and sound design of the completed film. The design of this soundscape will be entrusted to Youri Luis Mendoza, who composed and produced the original music and sound design of my latest short, whose sound environments were recently likened to those of David Lynch’s Eraserhead.
Adrian Replanski studied and received a film degree at Canada’s Vancouver Film School in 1999. His 10-minute student documentary on a Soviet submarine turned tourist attraction in a Canadian port-city earned him a post-production award and was shown at the Seattle Film Festival.
In 2007, he wrote and directed The Smoke Factory, his first feature film. The film has been shown at several international festivals, such as the 14e Rendezvous du Cinema Québécois et Francophone (Canada), the Festival Internacional del Cine Pobre (Cuba) and the Heart of England International Film Festival (England), where it was nominated as Best Foreign First Feature.
In 2009, he participated at the Guadalajara International Film Festival (FICG) with his short film Decathexis, an experimental piece with which he also took part in the first Guadalajara Talent Campus, a film workshop sponsored by the Berlinale Talent Campus.
From 2008 on, he became involved in a broad variety of film-related projects, including the design of video-backdrops for DJ performances at music festivals, camera and editing jobs for journalists covering film festival events, and the production of and street photography for a US documentary feature.
His animated short, New Clocks for the Wasted Hours, won several awards at Cuba’s 10th Emerging Filmmakers’ Festival and was selected for the official competition at the International New Latin American Film Festival in 2010.
He recently completed a 30-minute dramatic short titled Portrait of the Shipwreck.
Over the past seven years, Youri Luis Mendoza has composed and produced original music and scores for films and audiovisual materials that have been screened at festivals, art exhibitions and concerts in Cuba and abroad. He is a regular collaborator in such projects as CTRL-Z, Club des Jacobins, Nowhere Collective, Siranga and Sincopat.
Mendoza’s music is not easy to classify, as it encompasses divergent genres and styles, from Cuban to free Jazz rhythms, among many others. Via Crucis and Ctrl-Z are his most recent compilations.
The animated short “New Clocks for the Wasted Hours” can be viewed on Vimeo at the following link:
You can also ask a public question for Adrian Replanski
FUNDED This project was fully funded 990 days ago
The donor’s contribution will be acknowledged in film’s closing credits.
The donor’s contribution will be acknowledged in film’s closing credits. The donor will be also receive a DVD of the short.
The donor will receive a production credit, a DVD of the finished film, copies of earlier works by the filmmaker, digital materials used to promote the piece (such as illustrations and posters) and news about its exhibition at different international festivals and events.
Adrian Replanski (1978) pertenece a la primera generación de astronautas cubanos que no han volado al espacio sideral. Graduado de la Escuela de Cine de Vancouver, ha escrito y dirigido seis peliculas de ficción, incluido un largomatraje. Sus obsesiones son la filosofía, el psicoanálisis, la historia de la Unión Soviética y las peliculas del Oeste.