‘Gamma – The Personal Version’, entirely written, directed, scored, shot and acted by Reuven Mark Mozes, is a haunting, experimental exploration of loneliness and fractured identity. Adapted from Mozes’ own opera, the short immerses us in an unsettling journey through the psyche of Tommy, an artist consumed by isolation and inner conflict. The film’s black-and-white, handheld cinematography, along with long, lingering shots, reinforces this eerie solitude, creating a raw, unvarnished aesthetic that mirrors Tommy’s disquieted mind.
Mozes stars as Tommy, whose haunting journey includes a series of surreal sequences and mental struggles, embodied by two voices in his head – Sil and Anne – each representing conflicting aspects of his identity. These voices manifest as on-screen text, voicing doubts and contradictions that reveal the depths of Tommy’s torment. Throughout the film, Tommy’s solitude and strange behavior are framed as extensions of these voices, making his actions seem at once disturbing and pitiable. One compelling visual thread is Tommy’s painting process. He’s seen working on a piece (by artist Ilan Samareli), and these scenes add a tangible, almost meditative layer to the film, grounding Tommy’s struggle in his art.
Mozes’ score is a clear highlight. Each scene is underscored with carefully produced, evocative music that captures the shifts in Tommy’s mood and his battle with self-doubt. The melodies evolve with his journey, adding depth to an otherwise sparse narrative and underscoring the film’s commitment to its themes.
While ‘Gamma’ may not appeal to all viewers due to its slow pacing and avant-garde style, it’s a unique, deeply personal film that rewards those who appreciate unfiltered experimental cinema. ‘Gamma’ deserves recognition for its artistic ambition and the courage to confront loneliness in such a raw, haunting form.
