The young man has fallen from the sky, the lines of communication are burned, to flee the city and its tumult, get back to nature, enter into another story, of the legend of the prince, in the hope of a love, to hide in the hollow of the tree, nothing magical is improbable, what happened yesterday may happen again tomorrow.
- Best Cinematographer, Muhr AsiaAfrica Award, Dubai IFF
- Thusitha Laknath
- Kaushalya Fernando
- Huang Lu
- Vimukthi Jayasundara
- Channa Deshapriya
- Gisèle Rapp-Meichler
- Lakshman Joseph de Saram
In Between Two Worlds, the forces of History, of the past, the forces of nature, the forces of each character, the forces of the institutional powers, the forces of cinema, all come to a clash and to explode. All these forces flow through time, come from the past, reappear in the present and are tensed into the future.
I am highly aware of what nature produces, for example landscapes and emotions. The film allowed us to flee from the city, inhabited by signs and violence — to his unknown, Rajith undertakes a sort of spiritual journey—taking us to surroundings (first the countryside then the mountains) where life is not something that is obvious, where signs are invisible, where the sensation of the unknown, mystery, horror can arise, where one starts to understand that all of this has always been possible for human beings. The city makes one mad, but nature might be even worse, reawakening the past, legends. It is testimony of each and every thing, it talks to us without pause, referring to myths, arousing our imagination and ghosts. It is also the site of great violence. Nature never ceases fighting back, being born again where man has built; it cannot be controlled. In this sense it isolates us, it goes both before us and after us. In The Forsaken Land, my aim was to be an architect of the landscape, moulding it from scratch.
In Between Two Worlds, my goal was more to create something inside the landscape, to invest it radically, to interact in it in order to reinvent it.
I know that coming from me this can sound surprising, or even like a form of provocation, but Between Two Worlds is not narrated in an original way. I grew up listening to people telling stories. And when you’re listening to stories, whatever the story is, you need to follow its flow, not to interrupt it, not to ask questions. Orality induces that the same story is never told twice the same way. Because the listener is someone else but also because the moment and mood are different.
In my culture, as soon as you start writing down a story, you imprison it, you weaken it. But if you film it, then you’re freeing it, because you are combining its different elements. You are leaving room for the audience to explore its shadows, to experience it entirely, to receive it its own way, similarly to the experience of a painting.
Orality, like cinema, can restore the scope and all the resonances of a story. You can feel all its layers, sense all its meanings, and not necessarily what is symbolic about it.
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stunning lensing, a painter's eye for unexpected compositions and an accomplished feel for ambient sound... refreshing!
remarkably enigmatic sequences that might prove winning at festivals and could reach sympathetic international audiences as a cry for help for the young people of strife-torn Sri Lanka
it looks sure to notch up further festival action
In my culture, as soon as you start writing down a story, you imprison it, you weaken it. But if you film it, then you’re freeing it, because you are combining its different elements.
Vimukthi Jayasundara is the internationally acclaimed director of THE FORSAKEN LAND (2005), winner of the Golden Camera at Cannes Film Festival 2005; BETWEEN TWO WORLDS (2009), in competition at Venice International Film Festival 2009; MUSHROOMS (2011), shown at the Cannes Directors’ Fortnight 2011; DARK IN THE WHITE LIGHT (2015), in competition at Locarno Festival 2015; and HER HIM THE OTHER(Asoka Handagama, Vimukthi Jayasundara, Prasanna Vithanage, 2017), which screened in the Open Doors at Locarno Festival 2018. He is an educator, as directing mentor at Busan International Film Festival’s Asian Film Academy 2016, and also head of Colombo Film & Television Academy in Sri Lanka. His next project, THE QUESTION OF INNOCENCE, which is currently in the development stage, discusses that most certain aspect of life; death.