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= Film =

Film Portfolio: Fiction, Experimental, and Documentary
The films are divided below into experimental shorts, fiction, and documentary sections.

Demo reel

Experimental Shorts

Pitfall, 2018
Direction, cinematography, editing and music by Aaron Kearns. Duration: 7:41

The titular Pitfall is less of a literal one but instead a state a being.

With my current filmmaking, I am less of a strict “narrative” artist but instead a builder of states of being through the medium of collaging. All cinema is collage to an extent, but my films are pure collage art in how they are pieced together. They are not a collection of isolated scenes that build to a certain montage that “progresses” in a traditional manner, but a full work that can never be dissected without ultimately killing the whole tone that it’s set to build. Every image, sound, and motion adds to the overall piece. It is to be viewed and consumed as pieces of art instead of disposable commercial film. Each work connects to the last and they all build to an overarching vision. My intention is to take the selection of the eye and time itself and distort it to such a way that it collages it to a parallel universe that in some cases bears only slight similarities to our own existence. Out of the mundane I selectively pull certain images and moments that turns life surreal.

Pitfall from Aaron Dylan Kearns (EyeOdyssey) on Vimeo.

Catalytic Collision, 2018
Direction, cinematography, editing, and music by Aaron Kearns. Duration: 8:59

Catalytic Collision from Aaron Dylan Kearns (EyeOdyssey) on Vimeo.

O / O / O / O (Spiral Film), 2017
Direction, cinematography, editing, and music by Aaron Kearns. Duration: 7:47

Inspired by the works of Shuji Terayama, O / O / O / O is a film-based one act play that features silent human figures, a shattered sky and a giant flying grasshopper.

O / O / O / O (Spiral Film) from Aaron Dylan Kearns (EyeOdyssey) on Vimeo.

Cinematic Notebook, October 2017 - 2018
Direction, cinematography, editing, and music by Aaron Kearns. Duration: 7:47

During the production of this short, I took up yet another hobby in photo collaging. I already had a rough germ of an idea of my cinematic approach when working on Leftovers, Velocity and Spiral Film, but amidst it all I found myself distanced from the inspiration that originally brought my non-narrative works to light. Later on I found I was trying to replicate my own approach, and it was a clear imitation of itself. The shorts from this period never saw the light of day, nor will be given any further mention.

When working on the image collages, I further rounded out my perspectives on not only how images can be sequenced and reworked to give a surreal effect, but also how audio could be reworked to where it could give a certain atmosphere while bearing less in common with the visuals it accompanies. This detail was inspired from when I began collaging to musical pieces by classical musician Karlheinz Stockhausen, specifically his sample and synth based works like “Hymnen” and “Gesang Der Jünglinge”. In both the visuals and the sound design, I intended to match the ideal of one of my collages taking and distorting images of a commonplace reality. A collage will share things that we might see every day, or during certain times of the year, and rework them to something that feels unusual to our world. Editing is a form of collaging, whether we view it as such or not.

One other thing I feel the need to note, this film shares the exact running time as my prior long form short, Spiral Film. This wasn’t intentional.

Cinematic Notebook: October 2017 from Aaron Dylan Kearns (EyeOdyssey) on Vimeo.

Weightless Bird in a Falling Cage, 2017
Direction, cinematography, editing, and music by Aaron Kearns. Duration: 11:59

Production of this short started in November of 2016. At the time, we were in a Midtown apartment building, one in which I had grown up. It was not a “luxury” building. Instead, it was one that offered affordable living in an urban situation. It was a “neighborhood” building. There were a number of people who were living there when we moved in who were still there when we were all forced out by gentrification. It was home. The building had problems and needed repairs, but this story is still one of gentrification that empties neighborhoods of long resident populations. As a young teen, interested in artistic expression and going into film, the neighborhood that was my home was already the place and subject of several of my short films. This film was begun as a sort of representation of the alienation we all felt when forced from our homes, and our community. It was a goodbye.

In Weightless Bird in a Falling Cage, a faceless protagonist witnesses first hand a similar situation as his home is overtaken by development. The forces behind it are demanding him to leave, but also consequently push him further and further into his now not-home.

Weightless Bird In A Falling Cage from Aaron Dylan Kearns (EyeOdyssey) on Vimeo.

Leftovers, 2017
Director, editor, cinematographer and writer. Duration 10:16.

The first seed of inspiration for this film of mine was planted back in late 2016, when I went to an arthouse styled screening of the films of James Krell.

Ever since his creative prime from the 1960s to the early 80s, Krell has been acknowledged by his, albeit small, following as being one of the most influential and profound minds in the American experimental film scene. His works are cryptic, they never leave straight answers, and viewing them is like entering an alternate reality where familiar imagery is used to create a non narrative landscape that can best be described as super reality.

Seeing his works that night, my general perspective of experimental cinema made a great shift. Leftovers is my first step into a new field of filmmaking which I hadn’t taken on before.

Leftovers from Aaron Dylan Kearns (EyeOdyssey) on Vimeo.

Velocity into Execution, 2017
Director, editor, cinematographer and writer. Duration: 5:30.

Velocity Into Execution from Aaron Dylan Kearns (EyeOdyssey) on Vimeo.

Thinklematter Visual (TV): 1, 2017
Direction, cinematography, editing, and music by Aaron Kearns. Duration: 1:08

The Thinklematter Visual (TV) series is, in concept, a multi part instillation of multiple minute long short films. The films are meant to be projected in a box-like room with plain walls, with each entry of the series being played simultaneously on each wall of the room, including the floor and ceiling. The number of shorts in the series is indefinite.

Thinklematter Visual (TV): 1 from Aaron Dylan Kearns (EyeOdyssey) on Vimeo.

Thinklematter Visual (TV): 2, 2017
Direction, cinematography, editing, and music by Aaron Kearns. Duration: 1:11

Thinklematter Visual (TV): 2 from Aaron Dylan Kearns (EyeOdyssey) on Vimeo.

Thinklematter Visual (TV): 3, 2018
Direction, cinematography, editing, and music by Aaron Kearns. Duration: 1:23

Thinklematter Visual (TV): Vol 3. from Aaron Dylan Kearns (EyeOdyssey) on Vimeo.

Thinklematter Visual (TV): 4, 2018
Direction, cinematography, editing, and music by Aaron Kearns. Duration: 1:31

Thinklematter Visual (TV): Vol 4. from Aaron Dylan Kearns (EyeOdyssey) on Vimeo.

Thinklematter Visual (TV): 5, 2018
Direction, cinematography, editing, and music by Aaron Kearns. Duration: 2:44

Thinklematter Visual (TV): Vol 5. from Aaron Dylan Kearns (EyeOdyssey) on Vimeo.

Thinklematter Visual (TV): 6, 2018
Direction, cinematography, editing, and music by Aaron Kearns. Duration: 1:55

Thinklematter Visual (TV): Vol 6. from Aaron Dylan Kearns (EyeOdyssey) on Vimeo.

But to Me, You're Beautiful, 2016
Cinematography by Aaron Kearns.

Turbulence Around the Moon, 2016
Cinematography and original music by Aaron Kearns.

Fiction

The Counting Man, 2015.
Running time: 8 minutes and 54 seconds.
Direction and everything: I did everything. You name it. I did it.
On a budget of about $100.
Concept, direction, video, editing, music. Even the acting. It took me about three months.
Synopsis: A hermit obsessing over a numbers station is left to live within an absurd “Twilight Zone” based reality. It will be either one of the funniest horror films you’ll ever see or one of the most unsettling comedies to ever be made. It is the cinematic rorschach test.
Festivals: "The Counting Man" was in the 2015 Smells Like Teen Film Festival at the Woodruff Arts Center in Atlanta.

Aaron Kearns' "The Counting Man" from Aaron Dylan Kearns (EyeOdyssey) on Vimeo.

Bloopers and Outtakes from "The Counting Man", 2015
Running time: 1 minute and 47 seconds.

Documentary

Tree People, 2016
Running time: 24 minutes and 56 seconds
Who did what: I did everything but music composition. Martin Kearns did music composition.
Budget: Zero dollars.
We have gotten our Winter Solstice tree every year (that I can remember) from Big John's Christmas Trees at Ansley Mall.
They've all worked there forever and watched me grow up.
I asked if I could film what their day was like. They said yes.

Tree People from Aaron Dylan Kearns (EyeOdyssey) on Vimeo.



Rusted Waters and Busted Trucks, 2015
Running time: 6 minutes and 9 seconds
Director, cinematographer, editing.
Budget: Zero dollars.
The footage to this short was originally shot in early 2015, with this certain edit being a complete revision from Rusted Waters' original draft. The soundtrack to the short is by artist Fuji Fujimoto. The tracks used are Regenesis and Mercurial, both of which are from her album Skyrise at iTunes.
Festivals: An older cut of "Rusted Waters and Busted Trucks" was in the 2015 Smells like Teen Film Festival at the Woodruff Arts Center in Atlanta.

Rusted Waters And Busted Trucks from Aaron Dylan Kearns (EyeOdyssey) on Vimeo.

For my early films from 2013 to 2014 click here

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I will dissect the cosmos to extract the small oddities and amplify them,
forgotten memories in the afterburn of surrealism

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Quick links and description

I am a young, independent filmmaker, artist, and composer for film. My films (experimental/avant-garde and documentary) are split between the film and animation pages. The Thinklematter page is devoted to what began as an art comic project but has been expanded to include its own series of dedicated films. I also have zines and webcomics. If you'd like to support an independent filmmaker/artist, please consider making a purchase of one (or more) of my limited edition hardcopy publications. Other art is on the art page and more still on Instagram and Tumblr. Music is on the music page. Samples of my commercial work can be found on the work page. My contact email and all social media information is under connect. If you'd like to learn more about me then please check out my bio. For current news and thoughts check out my blog.

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