""At its core, the work is about connecting with a parent in that unspoken, unconditional way, and about daring to take the past into your own hands in order to bend destiny," shares Hanaé. "Some might see the film as slightly experimental, especially in a world of instantaneity where you're expected to get your point across in seconds. But for me, that's precisely the point: the past, though unchangeable, is always being rewritten in the present.""
"The striking film blends phantasmagorical animation with soft black-and-white live action, telling a cerebral thriller of sorts, where a man falls in and out of fractal, cobalt dreams. In its monochrome visuals, backgrounds filled with South Asian furniture and decorations blend into blurred greys, encapsulating the protagonist's ignored personal history. The protagonist's chaotic inner world materialises in quick cuts, sinister strings and the heightening of sounds around him, but keeps the viewer at arm's length with spectral animations that accentuate the film's arthouse influences."
Hanaé Sanchez created a multi-disciplinary diptych combining a short film and a zine titled At Last, merging moving and printed images. Prior studies included A-Levels, a foundation year in fine art in France, and moving image at UAL where skills in writing, direction and design were developed. The project reconnects with Khmer, Southeast Asian and Cambodian heritage and transforms frustration into creation by integrating design, animation, storytelling and live action. The work centers on an unspoken parental connection and the idea of taking the past into one's own hands to bend destiny. Visually, the film pairs phantasmagorical animation with soft black-and-white live action, monochrome interiors, quick cuts, heightened sound, and spectral animations that create an arthouse, deliberately distanced viewer experience.
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