The Cinematic Mind — A Twelve-Week Journey
This course does not move forward in lessons.
It circles, returns, drifts, resists.
Each week opens a question rather than closing an answer.
Week One — Moonlight at Daytime
Learning to see what should not be visible.
Attention before meaning. Looking before explanation.
Week Two — Water as Medicine
Images as healing, erosion, repetition.
Cinema as something that flows rather than argues.
Week Three — What If There Is No Sun?
Light disappears. Form must adapt.
Learning to work with absence, shadow, uncertainty.
Week Four — What You See Is Not There
Representation breaks.
The gap between what is shown and what is felt.
Week Five — The Hair of the Heroine
Gesture, movement, desire.
How cinema records love without explaining it.
Week Six — What Is Blood?
Violence, sacrifice, history, inheritance.
The body as archive.
Week Seven — Sex and Lies
Performance, power, pleasure, confession.
Cinema as seduction and betrayal.
Week Eight — Who Is Behind the Camera?
Authorship, gaze, ethics.
The filmmaker enters the frame.
Week Nine — Rebirth
After rupture. After war. After collapse.
Cinema begins again.
Week Ten — Life After Rebirth
What remains once innocence is gone.
Form after knowledge.
Week Eleven — We Used to Eat Sand
Memory, poverty, childhood, survival.
Cinema as residue.
Week Twelve — Skin Talk
The image touches back.
Cinema not as language, but as contact.
Twelve weeks will not make a filmmaker.
But they may undo the habits
that prevent one from
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