One of the two guests of honour for the Ateliers at Visions du réel 2016 in Nyon is Audrius Stonys, a Lithuanian filmmaker who marked the documentary scene with his poetic and creative touch. After following his masterclass organized by the festival, Filmexplorer had the chance to meet him and discuss at length about further passionate aspects of his work:
The need to dedicate a lot of time to the documentary form, the collective process of creation in filmmaking and the special relationship with music, the attraction of truth and the role of faces in his films, the importance of filming animals, the relation to religion and beauty, the poetry of nonverbal communication, among others.
Here we add a shortcut to the full interview: just an invitation to take the necessary time to enter Stonys’ world and explore his cinematography. A perfect occasion to expand on the experience…
He is one of the most eminent graduates of the Baltic Poetic Documentary School; a film enthusiast who deeply admires the work of Michelangelo Antonioni, Andrei Tarkovksi, Werner Herzog and Bela Tarr; a student who went to New York to learn the un-academic style of Jonas Mekas; a filmmaker who combines the freedom of creation with the fidelity of reality; a man who does not trust words but knows how to wait for those images that speak on their own; an editor who is not interested in telling a story, but gives the film’s sound the task of structuring the film – and to the musical soundtrack, he gives the importance of a character; a lover of animals as witnesses of innocence and a lover of faces as witnesses of truth; a soul who is disturbed by the passing of time and the disappearing of people and memories; an artist who likes daring associations of images that, like in the theatre of Eimuntas Nekrošius, find their coherence in purely emotive symbols; a poet of the fragility, of surprise and beauty.