Moses Boyd’s perpetual strobe-motion capture

Molding film to fit the media, Stranger than Fiction is a track on tracks, zooming in and out of itself. 

Within the dark rooms, strobe lights flash, breaking up the rhythm, the room, a violent enumeration of pattern and tempo. When directors In/Out think of hyper-musicality, they see it as force with a lack of focus, a jazzy, bluesy fight against constraints, against black-and-white mores and ideals. As we track back amid flashing lights, instrumentalists are alight, glowing figures in the darkness. 

This is hyper-musicality; a focus on the light, a focus on the music without faces, full on emotions and feelings. To quote Moses Boyd, the “sinister and mystic” effect was achieved with reflective spray and a single spotlight on the performers. With exceptional in-camera control from DP Spike Morris, the production company at Riff Raff developed an incredible rhythm of movement and pace; a perpetual motion capture machine.