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It is 1952. We follow the footsteps of the main character Agatha, whose journey takes us through a maze of melancholy and discovery.

After an indescribable loss, Agatha suddenly finds herself alone. Her surroundings feel like an empty plain, in which she seems to be lost, immersed in isolation. She finds herself in a twilight zone, where reality and memory merge. The house, once filled with warmth and security, now seems alienating and cold. Objects that previously served only as silent witnesses to a shared existence now carry the weight of loss and lack.

As time passes, the house begins to breathe. Mysterious events reveal hidden meanings and lead Agatha to a place of inner peace and acceptance, with an emphasis on 'the art of letting go'.


The film reveals the depths of Agatha's personal journey, exploring themes such as the transience of life and the complexities of impossible love.
'Death', a subject that makes people uncomfortable. Why is it that something so closely linked to life itself is so beyond discussion? Everyone has to deal with it in the course of life. Mourning processes for loved ones, family, friends, but ultimately also the grieving process of your own death.

At fourteen I was confronted with my own mortality. Before I went into the operating room, I asked myself 'What if I can't get out of here? At least not alive anymore. What if things go wrong? I was at peace with this.

Materialism has given rise to the idea that there is nothing after death, but what is nothing? Based on this philosophy, we distinguish dead matter from living matter and our consciousness is simply a list of coincidences. But when you put this together like this, it sounds very illogical, doesn't it? Where lies the deeper nature of our consciousness? I don't believe there is nothing after death. Because 'nothing' is a meaningless word. I do not believe that death is the end, but what exactly it is may never be comprehensible from our human logic, and that is exactly what makes it so beautiful, so great. The cycle of life. Transience.

Artist statement

Xenia Lodewijks is a young creative, rooted in Amsterdam. Her artistic journey unfolds through the lens of Image & Media Technology, which she studies at the HKU, specializing in Photography, Film, and Spatial Art.

“As an IMT enthusiast, I like the way of creative thinking, blending various media to craft multi-layered artworks that tell personal stories. I like to create visually engaging pieces with a strong focus on emotions and atmospheres, crafting a personal prism through which dreamy and surreal worlds seamlessly converge.

During my studies, I’ve explored a range of intriguing themes that have deeply influenced my work. These themes include mythology, psychology, philosophy, humanism, the evolving roles of femininity and feminism, intimacy, the passage of time, and the captivating world of horror.

These themes have always held my interest and continue to drive the stories I tell through my work. Additionally, I draw a lot of inspiration from the history of film and various photography styles. I try to incorporate the layers and complexities I find in these mediums into my work”

In essence, her work takes you on a captivating journey through different art forms, emotions, and the atmospheres that bind them together, creating a unique world for viewers to experience.


Als veelzijdige maker zie ik mezelf in de toekomst betrokken bij een scala aan verschillende projecten. Zowel internationale filmproducties als kleinschalige experimenten. De leukste projecten bestaan vaak uit samenwerkingsverbanden en ik verwacht dan ook nog velen grote projecten aan te gaan via mijn groeiende netwerk van collega's / vrienden. Tegelijkertijd zullen mijn soloprojecten, waar ik ook erg van geniet, zich blijven ontwikkelen. Mijn streven is om binnen vijf jaar een goede balans te vinden tussen commerciële opdrachten en persoonlijke projecten - de droomprojecten waarvoor ik al zeker een vijf jaren plan voor heb uitgestippeld

Learned during the studies

Het belangrijkste wat ik geleerd heb tijdens mijn studie IMT bij de HKU, is de IMT-manier van denken. Dit vormt een bijzondere kijk naar hoe diverse digitale media kunnen worden ingezet op een vaak experimentele manier. Als ik denk aan een film, denk ik aan alle kanten die je hiermee kan opgaan. Ik heb geleerd om me niet te beperken binnen één medium maar om groots te denken, soms zelfs groter dan uiteindelijk haalbaar is. Deze grote manier van denken roept een enorme creativiteit op, waarbij het belang van experiment altijd behouden blijft.