Quite Off unfolds as a film that never reaches
completion. Every image holds a suspended beginning, where the gaze lingers before meaning forms. The eyes remain within the act of watching, tracing a fragile presence.
We wrote a script and storyboards; filming became a path
toward separation. A quiet distance — where touch becomes uncertain and silence carries weight. The mother as proximity without merging, a fragile closeness shaped by restraint.
Red insists;
green persists. It enters like gravity, blooms without
apology. Movement fractures continuity — motion, crossings, departure. What remains is not absence but an afterimage; memory circulates beneath every frame.
