FILM NOIR is a short contemporary study of image, rhythm, and interface. Shot entirely on the phone and edited in a single day, the piece reflects my evolving relationship with tools: from once-coveted cinema cameras to the devices I live with daily. As my hardware has grown lighter, my editing has become more precise.

The film is built from six frames captured during a quiet Los Angeles afternoon while my Latvian girlfriend Anna was visiting. A woman sunbathes and reads a book on Film Noir. The camera lingers on a portrait of Anthony Perkins and the line, “Mother… she is just a stranger,” gently invoking an Old Hollywood psychological tension I deeply admire.

My cinematography leans toward raw beauty—sensuality, nude art, nature, genuine emotion. By contrast, my editing is architectural: rhythmic, deliberate, interface-aware. It reveals not only the story, but the digital space in which the story is shaped.

Past and future meet here—classic cinema, contemporary tools, and a personal sound motif “Of course, Polly” composed earlier with Suno—collapsing into a single screen experience that feels intimate, self-referential, and quietly precise.