Silis Heegh is preparing to have a documentary ‘wit’ ‘

Greenlandic Filmmaker and visual artist Inuk Silis Høigh (“Sums – Sound of Revolution”) is in pre-production to “Orsok”, a documentary that explores a delicate balance between choosing life in physical insulation and still deeply long for human connection. The director will present a film during the 12th editions of GAP financing of Venice production, which is held on 29. August – 31. August.

Set to the Greenland’s remote landscapes “Orsok” follows three people who lead lone existence. They are structured in four seasons, the film intertwines the lives of Ole, a retired adventurer recovering from the heart surgery; Gerda, who fights with loneliness, and yet refuses to leave his work for love; And Palo, tied to their mother that was hit by dementia by phone. How do their stories take place, the movie softly asks what lies in the heart of solitude: the desire to avoid others or yourself?

For Gøigh, it’s more about the run towards the latter. “When I feel the most wingy and most alone is when I’m alone in the mountain hunting,” he said. “I feel like I can really breathe. Still, I can’t imagine too long to be far from my family.”

The seeds “Orsok” grew after the director’s debut function, the Berlinale-premihood of “Suma”, who demanded it in his words “to talk to almost all Greenland”. “It was a great experience, but it pulled out my social battery,” he remembered. This exhaustion was taken to investigate the self-needed solitude, eventually leads it to a small oil warehouse near Nuuk, staff in the entire entire circle only three workers.

Emile Herming Peronard, Project Producer and Founder of its production company Anirik Film, Framework Concept within Greeneland’s broader history. “This movie is about balance,” he said. “In Greenland, we took ourselves from nature to cities during colonization. We tried so much Western values ​​that we may now find part of us that we lost – something in nature.”

Visually “Orsok” strives to capture not only their characters, but also a rare silence of the country itself. “Greenland is one of the senes in the world where you can experience absolute silence,” Høigh explained. “I want this to be a movie with not too many words, so the audience can feel the same as the characters – how simple it is, without background noise.”

And yet the composer of the Palva Takala adds a fragile counterpoint – the visible motif that cheer stories together. It comes almost imperceptible, marking the transition from the loneliness of one character to another. In a movement built in a quiet, smallest shift in sound makes the audience approaching both the landscape and words that break through it.

As for the seasons, they serve as an emotional register, not back. “Winter means darkness in Greenland,” Høigh said. “It’s the time of thinking, when people take up in themselves.” Warmer months provide a counterpoint, over time it is shaping the rhythm of film and experience solitude.

With “Orsok”, Whigh returns to an international phase with an intimate, contemplative research of what means he lives on the threshold of insulation and community. “It seems that people have some kind of split personality,” he reflected. “We ramp the self, but we need others at the same time. This contradiction fascinates me.”