A5-ERA
We are set in the future. In a completely abandoned villa, the daily routine is maintained by a humanoid AI. Her face appears polished, she is tall, and moves through the villa like a shadow, with a stiff and eerie grace that isn’t quite human. The villa is hyper-modern, equipped with the most advanced high-tech gadgets to facilitate household tasks. A fixed routine dominates the house. The alarm always goes off at eight in the morning, the beds are made, and every wrinkle is meticulously removed from the bedding. Every morning, a fried egg is served, and afterward, all traces of use are thoroughly cleaned. The garden is then tended by spraying away any pests or other forms of life. She carries out her daily tasks until sunset. Her day ends at the edge of her bed, where it will also begin again.
She is confronted with various situations that seem to humanize her. These choices don't appear driven by the machine within her. She seems increasingly motivated by humanity. She begins to experiment with alternative choices and their outcomes. We become lost in her thoughts and in reality — is what we see real?
"A5-ERA" examines humanity’s reliance on routine and questions what separates us from machines. Inspired by the rigid monotony of daily life, the film critiques our existence as if we are on autopilot. By blending Biblical symbolism—such as Era’s transformation into a dove, representing her demise—and sci-fi elements, the film explores self-awareness, temptation, and the duality of humanity.
Visually, I aimed to create a world of constant surveillance, using objective, controlled framing to reflect Era’s inner struggle between control and humanity. Shot on a Sony FX6 with Canon FD lenses for a soft, dreamlike aesthetic, the film blurs the line between reality and imagination. Sound, crafted by composer Vincent Paolo, plays a vital role in amplifying the story’s emotional depth in the absence of dialogue. "A5-ERA" invites viewers into an alternate reality to confront the essence of human existence.
The film began with a single visual idea I had sketched in my notebook: a woman surrounded by hundreds of fried eggs. This image became the foundation of the story. I’ve always been fascinated by films set in another time or universe. For me, cinema is about immersing the viewer in a completely different world, and creating such imagined realities allows for more freedom to explore and unleash creativity.
This was my first film, made in 2022 during my first year at RITCS School of Arts in Brussels. With a small but dedicated crew, we brought the story to life, and I’m deeply grateful for the incredible experience. After an extensive post-production process, a temporary version of the film premiered at the Offscreen Film Festival in 2023. In 2024, the final touches were completed, and we are now finally actively submitting the film to festivals. As AI continues to play a growing role in our society, the themes explored in A5-ERA feel more relevant than ever.
Maïmouna Badjie is an incredibly talented performer—a true chameleon who can embody and transform into a wide range of roles. In A5-ERA, the focus was primarily on physical performance, expressed through subtle details and precise facial expressions. Beyond that, Maïmouna crafted a rich mental world for the character of A5-ERA, giving the role remarkable depth through even the smallest nuances.
It was an absolute honor to collaborate with her. Her career is now taking impressive strides, and it comes as no surprise!
Music plays an integral role in this film, bringing the spaces to life and immersing us in A5-ERA’s inner world. I was incredibly fortunate to collaborate with Vincent Paolo, who began composing music for the project early in the writing process. His work provided a foundation that helped shape the film’s universe in a meaningful way. Vincent is exceptionally skilled, and his creative input was invaluable throughout this journey.
For the final track, Jackson Almond joined the project, crafting a complex and layered soundtrack that perfectly captured the feeling of losing control. Despite the distance—Jackson being based in London and me in Brussels—it didn’t affect the incredible result.
I’m deeply grateful to have worked with such brilliant musical minds. Their contributions elevated the music into a second character in the film, adding depth and emotion to the story.
