An independent experimental film about the stream of consciousness
The Flow is conceived as a film-essay with a theoretical duration of 24 hours, taking as its subject the flow of consciousness. It begins from a simple observation: we never experience a pure present. Every moment is traversed by layers of memory, anticipation, and latent images. What we perceive is not stable, but in constant transformation. Forms appear, drift, and recombine. One image calls forth another, a memory emerges unexpectedly, a thought branches off. The project seeks to give form to this continuous flow, to this inner movement through which thought constantly reconfigures itself.
Cinema has long attempted to grasp this flow through montage. By juxtaposing images and creating associations, it offered a first translation of thought as a non-linear sequence. Yet montage remains grounded in a logic of separation: it cuts, organizes, and connects distinct fragments. In lived experience, however, images are not simply juxtaposed ― they transform into one another. Montage approaches thought, but does not fully capture its continuity and fluidity.
Artificial imagination opens the possibility of another regime of images. Within the flow of consciousness, one form drifts into another, a place unfolds into a memory, a face dissolves into a landscape. AI models allow images to be understood as positions within a latent space, connected through invisible proximities. Moving from one image to another no longer requires a cut, but a displacement within this space ― a process of continuous transformation. The image becomes a trajectory. This regime of metamorphosis seems closer to the way consciousness actually unfolds: not as a sequence of fragments, but as a field of ongoing transformations. The challenge for cinema to come may no longer be to edit images, but to learn how to navigate within them.
To make this regime perceptible, The Flow mobilizes a hybrid grammar of images: 3D scans, point clouds, volumetric video, gaussian splatting, AI-generated imagery. These forms are not effects, but image-states. They are incomplete, unstable, suggestive ― close to the way memories appear: fragmentary, partial, always in recomposition. The image becomes a process rather than an object. It allows multiple temporalities, states, and intensities to coexist.
The film unfolds as a continuous drift over 24 hours, where consciousness moves through different regimes of experience. This approach draws on a lineage that runs from Baudelaire, with the figure of the wanderer shaped by the shocks of modernity, to Walter Benjamin, for whom the city becomes a space of image-constellations, where the past surfaces within the present. Here, the drift is not narrative, but perceptual: it follows the displacements, suspensions, and bifurcations of the mind. It is structured around three regimes ― Hell, Spleen, Ideal ― not as distinct chapters, but as simultaneous layers of experience. Hell refers to a saturated, homogeneous time, filled with flows of images, information, and automatic gestures. Spleen opens zones of suspension and drift, where perception becomes floating and fragmented. The Ideal emerges as moments of temporal condensation: instances of grace, persistent images, fragments of utopia. The film moves between these states without ever settling, constructing an experience where they overlap, contaminate one another, and constantly recombine.
The Flow is an ambitious project, both in duration and in its research and production demands. It requires time, experimentation, and a high degree of formal freedom. For this reason, it is developed as an independent work, outside traditional production structures. Web3 opens the possibility of a different model: direct funding, without intermediaries, supported by a community. By supporting the project, you are not only helping to produce a film ― you are participating in the emergence of a new form of cinema, capable of exploring the flow of contemporary consciousness.
Writing, tests, first image sequences, and transitions.
This stage allows the emergence and stabilization of the film’s visual language — a system of images capable of translating the flow of consciousness through transformation rather than cuts.
Capture, editing, compositing, sound, rendering, and post-production.
This phase enables the construction of extended sequences, where images begin to connect, evolve, and form a continuous flow across time.
Time, autonomy, and the freedom to develop the work outside rigid formats.
This goal sustains the conditions necessary to explore the project at its full scale — without compromise — and to maintain a cinematographic research driven by form rather than constraint.
Supporting The Flow means supporting a space of research, experimentation, and formal invention. This project takes time because it seeks a language that does not yet fully exist: a cinematic continuity built through transformation rather than cuts.
Your contribution helps make possible the development of the film — from research and image generation to capture, editing, sound, and post-production — while preserving the freedom to create it independently.
The Flow is conceived for presentation in international film festivals and theatrical screenings,
The entire film will be released, also, as a series of mintable sequences, forming a continuous 24-hour structure. The number of sequences, as well as their durations, remains to be defined.
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Thank you for supporting The Flow and helping this film remain independent!