Phi 1.618
Science fiction pushes the boundaries, explores the improbable, and envisions the future of humanity. It also exposes us to extravagant visual effects and the inventive power of cinema, reflecting our deepest fantasies. In cinema, science fiction is immersive, creating worlds suddenly within our reach. This summer, over one hundred films from the history of cinema will allow us to witness this!
In a dystopian future, female sex and procreation have become obsolete. Science has created a nation of bio-titans, a race of asexual, immortal men. As the Earth becomes toxic, the bio-titans rush to colonize the cosmos aboard a colossal spaceship, taking with them only one female body barely kept alive.
Theodore Ushev
A graduate of the Sofia National Academy of Fine Arts, Theodore Ushev is a much sought-after poster designer. He moved to Montreal in 1999, where he soon found the National Film Board of Canada to be a fertile ground for developing his style. Over the course of two decades, he produced 15 animated films. His acclaimed trilogy on the relationship between art and power - Tower Bawher (2006), Drux Flux (2008) and Gloria Victoria (2013) - quickly earned the respect of audiences and festival juries alike. The Physics of Sorrow (2019), his most ambitious work, is based on a novel by Georgui Gospodinov. It is the first fully animated film made using the encaustic-painting technique, also known as hot-wax painting. Over the course of his career, Theodore Ushev has also signed a carte blanche for the Festival du nouveau cinéma (Rossignols in December) and numerous independent films (Sonámbulo, Demoni, Life in a Box). His first live-action film, the dystopian Phi 1.618 (a Bulgaria-Canada co-production), was released last year.
In addition to his films, Ushev creates innovative installations, multimedia works and virtual reality projects. He gives master classes all over the world.
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