Pulp Stories

Fiction film, 45 min
2002
The film was made in a period when the university functioned both as a space for collective voice and as a structure of authority. Pulp Stories emerged not as a cinematic exercise, but as a response to academic order, pedagogical authority, and established narrative forms.
The work is composed of fragmented micro-narratives that converge in the setting of a café, where speech, gesture, and presence shape the structure more than plot. The performers’ involvement in generating situations shifts the film away from the execution of a fixed script toward a collective condition.
Within the film, positions of direction and control become unstable, and the structure itself causes authorial authority to slip from within. What remains is not narrative coherence, but a situation.
The sonic layer introduces music from another temporal context, disrupting the bond between image and present time and creating a disjunction between sound and image.
Today, the film can be seen as a formative moment in my practice, where satire, humor, and formal disruption became ways of distancing artistic language from institutional authority.