KINETICS — Between Worlds
The story is carried by ANASTASIA and ARNALDUR — two bodies, two presences, moving with absolute focus across the Icelandic terrain. Anastasia, arriving from Ukraine, and Arnaldur, rooted in Iceland, stepped into their roles with a rare precision — not acting, but embodying the intensity of the concept. Alongside them, the stunt performers HRAFN and RONJA took over the moments where movement pushed beyond physical limits — running, falling, rolling across unstable ground, carrying the raw physical energy of the film.
The plan was clear: the first day dedicated to the models, the second to the stunt sequences. But Iceland had its own narrative.
On the second day, an unexpected snowstorm transformed the entire landscape. What was meant to be continuity became rupture. The team paused — first in shock, then in instinct. Instead of resisting, the shift was embraced. The snow introduced a parallel layer — a second reality that aligned perfectly with the deeper concept of KINETICS.
The cold was not just weather — it was presence. Persistent, penetrating, almost immaterial. Even those accustomed to extreme conditions felt it differently here. KITO and COZIESTONE, both from Mongolia, shared that despite temperatures of -40°C back home, Iceland’s wind carried a deeper, more invasive cold. It moved through everything.
For the first time, Tono and Demo felt physically unable to continue shooting photography in parallel — a rare moment where the body reached its limit. And yet, the landscapes demanded continuation. Black volcanic fields, endless horizons, melting glaciers, rivers crossing impossible terrain — all of it pulling the team forward.
A hall, cold and controlled, filled with figures — dressed in the same specially created time-travel garments, designed to carry the same energy. A retro car was brought into the space — barely fitting through the entrance — becoming the central object of the scene.
With two off-road vehicles, the crew navigated through remote locations, crossing rivers and ice formations, searching for the exact points where the visual and the concept aligned. The light itself felt unreal — a sun suspended in a constant state of near sunset, casting a diffused, almost extraterrestrial glow across the land.
The conditions were extreme, but they created something else — cohesion. At the edge of endurance, the team found rhythm. There were moments of tension, but also moments of pure human release — laughter breaking through the intensity, Anastasia half-jokingly attempting to escape the shoot, only to return seconds later to check how the suit sits on her.
At night, the crew retreated to small isolated bungalows beneath the mountains, surrounded by wind and silence. Inside — warmth, anticipation, and a quiet hope that the next day would hold.
From Iceland, the journey continued back to the Creative Base DEMOBAZA in Bulgaria, where the second reality was constructed.
Alongside the film, the photography unfolded almost incidentally — yet produced a series of striking, powerful images, carrying the same intensity, but frozen in time.
KINETICS became more than a controlled production. It became a dialogue between intention and reality — between what is planned and what emerges.
Movement was never just physical. It was a force.
And in that force, something shifted.
Written & Produced by DEMOBAZA
Directed by RUSCEN VIDINLIEV
Director of Photography KITO
Edit & Colorgrade COZIESTONE
VFX & Sound Design ROMA SHAGLANOV
Music BRITTA ARNOLD
A hall, cold and controlled, filled with figures — dressed in the same specially created time-travel garments, designed to carry the same energy. A retro car was brought into the space — barely fitting through the entrance — becoming the central object of the scene.
