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Morphē (2012) [N/A]

Release Date:
September 12, 2012

Original Title:
Morphē

Alternate Titles:
Aesop: Morphē

Genres:
Science Fiction

Ratings / Certifications:
 N/A

Runtime: 3

Overview from TheMovieDB

Morphē is a short film conceived by multidisciplinary artist Lucy McRae in collaboration with Australian skincare brand Aesop. It playfully presages a new juncture for science and beauty, transforming an old Amsterdam church into a meticulously ordered space that references Aesop’s own laboratory. Here, a painstaking Scientist employs an assortment of gels, liquids, and weird contraptions to minister arcane beauty treatments to a sleeping Muse. The skin and hair play key roles for the female specimen fortunate enough to be on the receiving end of a new kind of super-sensory beauty treatment. McRae describes her film inspired chiefly by nineteenth-century scientist and philosopher Hermann von Helmholtz, and his revolutionary research on human perception: ‘Everything’, wrote Helmholtz, ‘is an event on the skin’. ‘I wanted to suggest a journey inside a world beyond skin care, one that involves farther realms of perception within the sensory landscape of the human body.'

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Production

Art Department Assistant:
Maya LaCroix
Frank Verkade
James Teng

Assistant Art Director:
Maaike Fransen

Casting:
Sanne van Wersch

Costume Designer:
Janneke Verhoeven

Director:
Lucy McRae

Director of Photography:
Hessel Waalewijn

Editor:
Ine van den Elsen

First Assistant Art Direction:
Laetitia Migliore

Lighting Design:
Owen Kuipers

Music:
Eduardo Noya Schreus

Producer:
Holly Krueger

Production Assistant:
Jack Yoern
Holger Gons

Production Design:
Barnaby Monk

Project Manager:
Dan Honey

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While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:

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  • Regarding those polls wherein "franchise" movies were submitted as one project until BFI's policy changed to regard them separately, I treated them as ties and renumbered the affected lists accordingly (e.g. the Godfather films).

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Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.