Tibor Nagy Grosso’s one minute shorts are mostly „society-flips”, a kind of experimental conversation starters, brief but suggestive reflections of the changes resulted from the digital revolution using different senses to emphasize the ambivalent quality of technocracy.
Nagy Grosso’s moving images are amateur works with simple structure and simple technique. In his approach it is unnecessary to search for any artistic border-crossings or deep philosophical asseveration. With his sparks of wit Nagy Grosso „only” wanted to start a conversation, bring up topics such as impersonality as one of the side-effects of technological innovations or the idea of life without stimulation. The length of his works are all around one minute long so these considerably short works could function as ingenious questions.
Digitalisation the 2011 film is neither an experiment with images or a narrative game. It is more like an idea, its greatest virtue being the ability to transmit the bipolarity of the subject depicted. This brief gag analyses the effects of the radical transformation of the consumer behavior caused by the digital change-over. Grandpa is dead, there should be flowers on his grave. How great that one may simply download it from the internet! In Nagy Grosso’s bittersweet etude the departed relative instead of a plant gets a monitor onto his mound. The blossoms flaunting in HD quality are not to be touched or smelled but at least they are there. Or aren’t they? The digital flowers never lose their petals and they never wither. They don’t need fresh water, they don’t need to be changed, they don’t need human presence. If one gets bored of them it’s enough to change the application and instead of yellow roses resting on a satin cushion, lilies will appear on the screen resting in a ceramic vase.
The depicted situation is rather absurd but the problem is real. In his film Nagy Grosso tries to find out exactly how much the virtual and the physical world can be mixed and what are the ethical limitations of this latent-symbiosis. The language of the film is severe, the images either show the process of the online flower-ordering or demonstrate the varying coulisse of the cemetery. The rhythm is balanced and the music harmonizes with the intensity of the scenes.
Superteam is also a one-joke film which lasts only for forty seconds. Again the main subject is the synthesis of analog and digital but the presentation is much airier than it was in Digitalisation. Rived off from Nagy Grosso’s filmography the film is in the resemblance of some Sunday afternoon fooling around but being aware of the director’s interest makes it clear that Superteam is another variation of the same topic. Nagy Grosso recorded a group of workers cutting the grass with lawnmowers fixed to their own bodies. This time the basis of the witty bantering is based on the after effects, on the manipulation of the moving images. By speeding and rewinding the recordings and using a score which recalls the sound of old video games Nagy Grosso transforms a documentary into a digital puppet-show.
„Experimental film never wanted to be professional and audience-friendly” – states Balázs Varga in one of his articles. Nagy Grosso who creates moving images of different genres and qualities is quite far from being a professional filmmaker. The more rigorous of critics would probably ignore his one minute shorts. However there is a place for Nagy Grosso’s works on the avant-garde film scene even if they were dwarfed by the more inventive representatives of the trend. On the level set by the director they do fulfill the requirements of the experimental film as they keep going against conventions.
Written by: Dorottya Szalay