Gul(flower) is about contrasts. Humanity’s impact on the environment is a strong theme of the film. Much of the visual development of the film came out of my surroundings. Here in Southern California, there are great swathes of natural beauty and industrial blight. On one hand there is a fascination in seeing the intricate leaves, and multitudinous branches of a forest of trees. It touches some primal core that seeks the comfort of soft floral colors and organic shapes. In stark contrast are the abominations that generate our electricity and process our filth. These inhumanly intricate structures with which we pretend to bend nature to our will are also fascinating and endlessly intricate, but with a morbid, claustrophobic, foreboding grotesqueness.
We stand before both, minute and insignificant, but where one is magnificent in its grace and brutality, the other secretes a slow poison that promises a total destruction with no return. Humans are interesting creatures. Like the lion trainer’s who put on a show with powerful animals that could destroy their impotent “masters” with an accidental swat of the paw, we court and create our own greatest dangers.
These ideas parallel the greed of humanity, not only in its pillage of nature, but in its egotistical pursuit of its ambitions and agendas. Yet somewhere within all of that, is the excitement of opportunities, the newness of youth, the open possibilities of naivete and hope. Where concrete snuffs out life, rain crumbles it, revealing new green life, inching into sunlight. Gul seeks to connect on that visceral level in the natural and unnatural that concerns of our environment.
Watch the film here.