It dares its audience to question their own culpability in this all too real state of affairs  (The Guardian)

In an eerily familiar city, a calendar reform has dispensed with the past and the future, leaving citizens faceless, without memory or anticipation. Unimaginable happiness abounds – until a woman recovers her face…

FACELESS uses CCTV images obtained under the terms of the UK Data Protection Act as ‘legal readymades’, as instructed by the artist’s MANIFESTO for CCTV Filmmakers . Legislation requires that the privacy of other persons be protected when data is released – for CCTV recordings, this is typically done by obscuring their faces – hence, the faceless world.

The work resists the sensational for the everyday and becomes all the more miraculous because of it. – Art Life

A novel way of avoiding the costs of creating a movie – by making her film entirely from images of real life captured by CCTV cameras. –  BBC NEWS

A wonderful metaphor for contemporary life: as we shuffle through cities each day, brushing up against fellow citizens, many of us feel simply faceless. – ThinkingShift

It dares its audience to question their own culpability in this all too real state of affairs. – The Guardian

Les règles du Manifesto for CCTV Filmmakers s’adressent à des cinéastes d’un nouveau genre qui ne tournent pas avec leur propre caméra mais utilisent les enregistrements des CCTV omniprésentes. – La Libération

FACELESS – a film by Manu Luksch [AT/UK 2007; 50 min]
choreography: THE BALLET BOYZ    soundtrack: MUKUL   piano music: RUPERT HUBER

To access the listing of publications analyzing or contextualising the production FACELESS, go <here>