Bastille enters the digital panopticon
A techno-horror nightmare from director Jak Payne shows a future of surveillance and cyber supremacy.
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Credits
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- Production Company Blink Productions
- Director Jak Payne
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Credits
View on- Production Company Blink Productions
- Director Jak Payne
- Executive Producer Laura Northover
- Production Service Tuna Fish
- Executive Producer Josef Byrne
- Producer Rosie Brear
- DP Anna Smoronova
- Editor Samuel Marr
- Colorist Alex Gregory
- Executive Color Producer Charlie Morris
- VFX Artist Angus Wilson
- VFX Producer Amy Smith
- VFX Executive Producer Vic Lovejoy
- Sound Designer Kaspar Broyd
- Producer Laura-Leigh Smith
- Executive Producer Ivana Antic
Explore full credits, grab hi-res stills and more on shots Vault
Credits
powered by- Production Company Blink Productions
- Director Jak Payne
- Executive Producer Laura Northover
- Production Service Tuna Fish
- Executive Producer Josef Byrne
- Producer Rosie Brear
- DP Anna Smoronova
- Editor Samuel Marr
- Colorist Alex Gregory
- Executive Color Producer Charlie Morris
- VFX Artist Angus Wilson
- VFX Producer Amy Smith
- VFX Executive Producer Vic Lovejoy
- Sound Designer Kaspar Broyd
- Producer Laura-Leigh Smith
- Executive Producer Ivana Antic
With body horror elements and moments of Black Mirror-like weirdness, Bastille takes on to the unknowable future.
As software developers attempt to update Future Inc’s digital wetware, the population fades in and out of consciousness. A device that’s almost like a VR headset that’s attached to the temple takes over people’s minds, and the developer is followed by a drone army, controlled by the unseen digital cloud. The entire thing is a thriller/horror mashup, and it’s genuinely creepy to watch Big Brother trail the free minds through the brutalist city.
Distorted Light Beam was shot on location in Belgrade. Director Jak Payne worked closely with the Blinkink studio to design the VFX and animator Balázs Simon for the 3D shots. Says Payne. “It was really great to get a brief that referenced so many of the films and genres that I love. We had such a fun time building this world... and could really draw on a lot of classic sci-fi in that development.”
