DNK (1974). Vive y trabaja en Copenhague y Nueva York.
Video (Blue-ray Disc), 7’ (bucle)
Jesper Just’s film projects are usually built around ambiguous narratives. He deals with social themes that he examines from a rigorous critical perspective, frequently referencing history and film culture. One of his more radical subjects involves traditional gender stereotypes, specifically notions of masculinity. He challenges these by studying social images imposed by Hollywood. He employs concepts such as deliberate ambiguity, uncontained emotionality, and visual provocation to produce feelings of discomfort, distancing himself from the safe zone in traditional film. He formally recreates dense, complex atmospheres and produces exclusive soundtracks for his films, collaborating with a variety of musicians, artists, opera singers, and dancers to produces deeply cultural works.
Llano presents the ruins of a socialist colony in the cruel Californian dessert, kept alive by an artificial rain machine. The place is Llano del Rio, founded in 1913 by the socialist Job Harriman. The project collapsed due to a failure in the water supply system, and the village was abandoned five years later. The camera presents the rubble under a curtain of rain, but then shortly reveals the ruse: the artificial rain machines often used in movies. In the center, a woman fights to prevent the total destruction of the village ruins. Llano is a unique blend of utopia and dystopia in a place that no longer is and never really was.