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Tarun Chandrasekaran

Films

2024

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My biggest production yet, this film was my final short film in the International Baccalaureate Film Higher Level course. In As Lights Blur By, I use my four years of IB Film experiences to weave a short film that incorporates many of the directorial styles and techniques I had learned in these years, specifically tied to Wong Kar-Wai. The film follows an adolescent girl recalling memories of her late mother as she travels through the city while visiting locations and memorabilia related to her mom. In order to convey this story in an engaging manner, I decided to incorporate a non-linear structure following the theme of the five stages of grief. I had always used more experimental storytelling in my previous films, with cryptic narratives and a heavy stylistic focus. This time, I decided to direct a film with a more clear narrative while bounding myself to a specific thematic idea to explore. By exploring the 5-stages of grief with a non-linear structure, I am able to manipulate space and time while maintaining continuity, creating an immersive and unique experience. As a Director, I successfully paid homage to Wong Kar-Wai’s neo-noir techniques and non-linear narrative in order to represent the five stages of grief. Throughout the process of filming, many challenges were faced, such as the availability of locations and permits and a constant clash of ideas between members; as a director, I fixed the clash of ideas by synthesizing different perspectives proposed by every member and providing a viable solution. Through this experience, I learned that it is crucial to listen to the team’s inputs and ideas and to make compromises to collaborate efficiently. I also learned to manage situations where the team might feel lost, and to allow every member to contribute equally through a set task of instructions and activities.

2024

An extra-curricular and personal effort. In my first one-man film (excluding the actors), I handled the entire production, direction, writing, cinematography, and editing on my own throughout a 5-day trip with my friends. As a Director, I intended to learn to successfully block and frame my actors in a way that creates symbolism and character dynamics and gets the actors to express their emotions as the characters. I referenced ‘Fallen Angels’ (1995), ‘Persona’ (1966), and ‘Citizen Kane’ (1941). The directorial element prevalent in these specific films is the blocking and framing of the actors, which I will be putting special emphasis on. Fallen Angels, Citizen Kane, and Persona predominantly use mirrors, sub-framing, and iconographies in the actors’ blocking. I also referenced Chekov’s Gun, by ensuring an object is introduced and used by the end of the scene for the sake of character dynamics and symbolism. Wong Kar-Wai’s directorial style was also a point of reference by improvising shots and framing outside of the main references, setting up a safe environment for improvisation, with only storyboarding and planning being the reference material. I had intended to achieve most of these references in the first scene, with the rest of the filmmaking focusing on developing the narrative. This is also the first film I had made without experimental narratives.

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2023

'REEL DEAL' Film Festival Award for 'Best Director' - Jakarta

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This was the first official short film production I had managed and directed for a short film festival. My filmmaking intention behind this film was to combine elements of avant-garde filmmaking and soviet editing. As the Director and Editor, I used editing techniques and theories, particularly the Rhythmic and Intelligent Montage and Superimposition, to symbolize panic and inordinate emotions. My intention behind this technique was to symbolize the main character's sudden panic, terror, and confusion. Super-imposition involves layering two shots on one another and reducing the opacity of one of them to make both frames visible at once. Films such as ‘Apocalypse Now '(1979) use them to convey narrative elements and tension. The rhythmic montage is used to symbolize a fast pace of events leading to tension, as used by Sergei Eisenstein for the film Battleship Potemkin’ (1925), in the Odessa Steps sequence. An instance of this reference was when I added a pounding rhythm matching the visuals of two super-imposed shots to mimic the heart beating in anxiety, using editing to capture panic. The auteuristic control I had over this film led to the Film Festival awarding me with 'Best Director'.

2022

'GJS' Film Award for 'Best Director' and 'Best Cinematographer' - Jakarta

This film follows a man in his melancholic solitude as he wanders through the city of lights, hoping to lose his individuality and run away from a loved one. The filmmaking intention behind this film was to reference Hong Kong auteur 'Wong Kar-Wai' as well as his Director of Photography, 'Christopher Doyle'. This film bears influences from the French New Wave, with hand-held cinematography and unconventional non-linear storytelling. As well as Wong Kar-Wai and Christopher Doyle's techniques, such as low-key lighting, improvisation, lens distortion, unique colour grading, and heavy control over cinematography and sound. Wong Kar-Wai and my experience with this film would play a crucial role in shaping my directorial style. This would also be the first film I scored, using Shoegaze and Noise Rock to symbolize the character's panic towards the climax of the film.

2021

My first official short film. Following a man's visions after an accident, the filmmaking intention behind this piece of work references Avant-Garde Filmmaking techniques, Sergei Eisenstein's 'Intellectual Montage,' and sound designing skills. I was interested in the avant-garde concept of films that were made to have audiences decipher them, thus claiming this film to be an audience interpretation-based film. I was also very interested in conveying stories requiring minimal dialogue, a motif I followed for most of my short-filmmaking career; to perfect audiovisual narrative before dialogues.

Music

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A project led by Tarun Chandrasekaran under the alias of 'Odin Phoenix'. Cadence in Stripes is an experimental art rock and post-rock project exploring sonic textures and a personal venture into emotional expression through music. Debut album, '...And I Whisper to You' coming soon.

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cadenceinstripes

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