A tricky formalist exercise imbedded into a short narrative, Auto-pilot uses a divided screen to contrast the filmic techniques of real and manipulated time, static and fluid camera, and documented activity vs acting.
A dual exploration of objectivity and subjectivity via camera positioning and audience point of view, Auto-pilot upends the narrative conclusions suggested by it’s mundane imagery.
The composed soundtrack ominously counterpoints the banal activity.
The abrupt brevity of Auto-pilot requires meaning to be negotiated only in retrospect, imposing new narratives on linear time and emotional perspectives.
It’s formal, it’s funny, it shocks and it’s short.