Lorn leaves everyone guessing
Without words or lyrics, Timesink is a sibylline piece, pared-down to just the essentials of what makes an apocalyptic horror film.
Credits
powered by-
- Production Company The Panics
- Director Pavel Brenner
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Credits
powered by- Production Company The Panics
- Director Pavel Brenner
- Executive Producer Ania Markham
- Executive Producer Jules Tervoort
- VFX Supervisor Ivor Goldberg
- Post Production The Panics
- VFX Producer Liene Berina
- VFX Producer Androniki Nikolaou
- Lead VFX Artist Chris Staves
- Lead VFX Artist Dimos Hadjisavvas
- Production Company Virgin Soil Pictures
- Production Company Red Pepper Productions
- Production Company Friend
- Production Company Cream
- DP Christopher Ripley
- Executive Producer Pavel Brenner
- Executive Producer Luke Tierney / (Head of Music Videos)
- Producer Malcolm Duncan
- Production Desgner Pierre Pell
Credits
powered by- Production Company The Panics
- Director Pavel Brenner
- Executive Producer Ania Markham
- Executive Producer Jules Tervoort
- VFX Supervisor Ivor Goldberg
- Post Production The Panics
- VFX Producer Liene Berina
- VFX Producer Androniki Nikolaou
- Lead VFX Artist Chris Staves
- Lead VFX Artist Dimos Hadjisavvas
- Production Company Virgin Soil Pictures
- Production Company Red Pepper Productions
- Production Company Friend
- Production Company Cream
- DP Christopher Ripley
- Executive Producer Pavel Brenner
- Executive Producer Luke Tierney / (Head of Music Videos)
- Producer Malcolm Duncan
- Production Desgner Pierre Pell
This isn’t the end times, not by a long shot, but films like Timesink are creating the new visual language to talk about the world as we know it.
The mood of Timesink is so palpable, drawing from an extensive visual library of horror films featuring young kids on bikes. The vibe is Stranger Things meets the Quiet Place, with a little touch of Walking Dead. A young boy on a bike rides through deserted country roads, passing abandoned trucks, avoiding barricades, and performing jumps over wrapped up bodies.
The visuals here are compelling and terrifying, alternating in between focusing on the forested streets and the markers on the kid’s backpack and bike emphasize just how young he is. These moments hint at a past time - the eighties, maybe the nineties, when millennials were just trying to figure out what technology was and where they fit in.
Filmed last year with production company The Panics, the video, stark and brilliantly shot, feels strangely prophetic. In Pavel Brenner's new world the streets are nearly empty, the young child rides alone, and the ambulance is wrapped in caution tape. These are the haunting images of a near future and not a speculative one.