I Shut My Eyes In Order To See
A collective discovery of rhythm and balance
Directed by Martí Arbaizar
Words by Katie Huelin
Directed by self taught, Barcelona-born, director Martí Arbaizar, I Shut My Eyes In Order To See demonstrates the power of movement - allowing us to express our innermost selves, forge connections, and experience true freedom from constraints. Through this short film, Arbaizar invites viewers into a mesmerising world of childhood visions and dreams, harnessing the transcendent power of music as an art, shaping his evocative storytelling.
I Shut My Eyes In Order To See powerfully communicates how movement allows us to express our inner-selves, connect with others, and feel genuinely free from constraint. Could you share with us what the power of both music and rhythm represent to you personally, and why you chose to emphasise these so prominently in your work?
I definitely see music as the art form that can best reach our souls. It has been one of the most consistent elements of my life, with many of my most precious memories being related to it in some way. There’s so much that can be said about this but mainly I think it’s music’s ability to linger and to transcend that makes most of my work revolve around it.
Can you share with us some insights into the process of how you created a freeing and open space for each individual featured in the film to truly express themselves so authentically on camera?
When shooting the interviews, only the essential crew members were on set: the cinematographer, 1st AC, sound recordist and myself. We also used foldable panels to create a separate and more intimate space in each corner of the hall we were shooting. It really felt like we were having a one to one conversation. When filming the performances, the cast could dance to any song of their choice and I encouraged them to close their eyes if it made them feel less camera-shy.
The use of black and white alongside the film’s more subtle tones adds depth to the colour palette whilst creating an interesting atmosphere and style. Can you elaborate on how you worked with Juanjo L. Salazar and John O’Riordan to create a real sense of memory and inner exploration through both cinematography and editing?
A big part of the cinematography was conditioned by the camera’s restrictions, the use of a zoom lens and 16mm film stock. In terms of light, we set out to do the maximum with the minimum. The main thing was respecting and being true to the space. Juanjo and I worked together on set to explore all possibilities the space offered and he had complete freedom when operating.
Juanjo and I had already worked with John on a couple projects before this one. I am so grateful he agreed to take part in the project. It makes such a difference to be able to be in the same room with the three of us, playfully exploring with the grade, following our instinct. It was a very collaborative process. There were a few bits I wanted to be in black and white, some others were John or Juanjo’s suggestions. As you say, it was mostly done to create a different atmosphere or to give it a surreal feel.
The choreography in the film feels deeply personal and genuine. How did you balance giving creative freedom to the cast while maintaining your overall vision for the film?
I didn’t worry about the cast’s movements fitting into some preconceived idea I had of the film. I gave them absolute freedom and trusted that whatever came out would become the vision of the film.
“I love adding elements to my films that slightly remove you from reality, that make you question the truthfulness of what you’re seeing.”
The location of the film, an empty music hall, provides this blank canvas for the bold movements and unique expressions to take centre stage. What inspired this choice of setting, and how do you feel it enhances certain themes such as the reminiscence of childhood visions?
The locations were the first element that I had in mind during the conception of the film. They are part of Goldsmiths University, where I studied my masters degree, so they were easily accesible to me.
As you say, the size and emptiness of it made it a perfect blank canvas for anything to happen. I love adding elements to my films that slightly remove you from reality, that make you question the truthfulness of what you’re seeing. I often want it to feel like a strange dream or a limbo. These are all things I’ve been attracted to since I was a child, so they instantly remind me of that.
The music and sound design by Pablo Serrano amplifies the narrative flow, seamlessly weaving with the running narration. Could you delve into the collaborative process between you and Serrano, and how intentional choices in music and sound were made to add dimension to the visual storytelling.
The process of building the sound of the film with Pablo started in November. I sent him a few ideas and references I had and we built up from there. My main inspirations were Miles Davis, Boards of Canada, Krzysztof Komeda and Robert Aiki Aubrey Lowe & Ariel Kalma. I knew I wanted some jazz elements in the film as well as some more electronic ambient stuff. We wanted to combine the elegance and mystery of jazz together with the repetition of electronic music to create some kind of mantra that helped the words reach the audience better. It was Pablo’s suggestion to add a saxophone to the composition. He then sent me 3 tracks, and 2 of them ended up on the film just as he sent them to me. It’s the first time this has happened to me, usually there are many rounds of feedback and changes.
What’s next for you?
Recently, I have been fascinated with mirages, the desert and communities that live there. I still don’t know how this project will materialise, for now I’m just having fun doing research and writing down ideas. In the meantime, I’m working on commercial stuff and looking to work on more music videos, that’s my goal at the moment!
Director - MARTÍ ARBAIZAR
Director of Photography - JUANJO L. SALAZAR
Music and Sound Design - PABLO SERRANO
Saxophone - PABLO GARCÍA
Stylist - DONNIKA ANDERSON
1st AC - EDU FERRER
Sound Recordist - JAVIER CARLES
Hair and Makeup - CHIHARU WAKABAYASHI
Camera Trainee and Runner - AIDAN BROOK
Color Grader - JOHN O’RIORDAN
Graphic Design - LEANDER KREISSL
Mirror Installation - ADELA CAMPBELL
Stills Photographer - VICTOR RAKOSNIK