The definition of SMOKING GUN constructs the very foundation of this cinema as we observe the incriminating evidence of perpetrators carrying out acts of domestic abuse. The project aims to reveal layers of verbal and physical misconduct inside a relationship, challenging the audience’s understanding of domestic abuse, as it rummages to more profound areas: financial abuse, physical abuse, psychological abuse and sexual abuse.
We brought our devotion to multi-screen installations into SMOKING GUN. But we’ve also mixed old and new cinematic elements to produce further disarray from what is already deduced from the arguments, with the intention to truly inculcate hostility and discomfort within the viewer (as is evident in an abusive relationship). Despite the manipulation of chaotic screen timing, we hand the audience a tool to focus on one story through walking closer to a specific screen and focusing on the subtitles to render themselves deaf to the noise of the other screens. The addition of palpable objects from the stories on the screen, expedited further intimacy to the film.
The strengths that I brought into SMOKING GUN included the marriage of my practices in scriptwriting, filming and editing alongside an eye for aestheticism in presentation and performance. The project pushed my boundaries of what I originally do with my video projects and strengthens my bond with my camera.