Using cutting-edge virtual production methods, “FLY ANGEL SOUL” invites viewers on a mother’s surreal journey through an alternate past, where she confronts her son’s AIDS-related death. Guided by his diary and memories, she discovers the transformative power of love, faith, and art to transcend tragedy.

“Soul” cam still

“LET US PRAY TO GOD THAT WE BE EMPTY OF GOD…”
Drawn in by a Meister Eckhart quotation from her son’s diary, the mother envisions an alternate past where her son is alive and she is present when he receives his AIDS diagnosis. The film delves into the tension between the constraints of the physical world and the human yearning for something greater.

“FLY ANGEL SOUL” employs innovative storytelling techniques using three virtual cameras, each representing a distinct perspective: the Angel, the fly, and the soul. Unlike traditional cinema, the film doesn’t focus on “getting the shot.” Instead, it embraces the unexpected aesthetics of computer-encoded viewpoints and the intricate emotions of the human heart. The perspective from the “soul cam” is crafted through the creative path of Clémence Debaig, a choreographer, dancer, and creative technologist who embodies the role of Sebastian’s mother.

Through this first-person shooter perspective, viewers are intimately connected to the characters, immersing themselves in their emotions and experiences. As the mother navigates this alternate reality, the audience becomes an integral part of her journey, sharing in her heartache, hope, and exploring the boundaries between reality and the extraordinary.

Angel Cam view

“FLY ANGEL SOUL” explores the possibilities for virtual production methods to reshape film language. Our challenge lies in empowering viewer agency and narrative-shaping responsibility and invoking a heightened sense of presence within the constraints of 2D film. To tackle this, our film production has taken on the guise of a functional laboratory, where diverse talents including visual artists, architects, developers, cinematographers, choreographers, writers, directors, sound designers, and composers converge.Through collaborative experimentation, we strive to channel our expertise in interactive storytelling and installation art, envisioning how cinema can redefine perceptual limits and challenge established concepts of reality.

Fly Cam view (Work in Progress)

Shout out to the Incredible team! And my longtime creative partner Cyril Tsiboulski.

Michael Debartolo Sebastian
Ingrid Jean-Baptiste Bathilde
Tommie J. Moore The Doctor

Clemence Debaig Choreographer & Creative Technologist
Christoph Mateka Composer
Leo Kuraitė Supervising Sound Designer
Paolo Barlascini Lead Visual Artist
Produced by
Illya Szilak & Cyril Tsiboulski Executive Producers
Allen Yee Associate Producer
BTL
Volumetric Production
Jason Waskey Creative Director & Technical Director
Kathy Saelee Producer
Tiago Washburn Capture Tech
Tri Le Capture Coordinator
Rhonda Callahan Technical Artist
Brian Cantwell Processing Supervisor
Sean Bittinger Technical Artist (Data)
Eric Limcaoco Stage Sound Engineer
Heather Manchester Hair & Make-Up
On Set Medics On-Set Covid Compliance Officer
Slipery Fish Catering and Events Catering
2D Production TBD
Cory Allen
Peter Bell Behind the scenes reel production
Immersive Development
Elliott Mitchell Lead Unity Engineer
Emmy Yupa Lead Graphics Engineer
Post-Production Sound Services (TBD)
Post-Production Design Services (TBD)
Legal Services
John Pelosi, Esq. PELOSI WOLF EFFRON & SPATES / Fancy Rainbow Counsel
Filmed on location at NYU Tandon @ the Yard.
Special Thanks Todd Bryant
Christopher Strawley
Derek Chan