EXPERIMENTAL FILM -











Editing Process

The editing stage for Glitch in Reality was where everything finally started to make sense. Since the film relies so much on visual manipulation and timing, post-production became the most important part of the whole process. I used DaVinci Resolve 19, which gave me a lot of flexibility to experiment with glitch effects, layering, and timing tricks that helped bring the surreal tone to life.

Most of the glitch effects were created manually using basic editing tools — no fancy plug-ins. I chopped up frames, repeated actions, used harsh cuts, and layered clips on top of each other to simulate errors or “bugs” in reality. One of the more fun techniques involved spinning my phone on a fan to create a distorted blur, which worked surprisingly well for building visual chaos. I also used slow motion and reversed footage in specific moments to make actions feel unnatural and offbeat.

The biggest challenge during editing was getting the pacing right. Because there’s no dialogue, every second had to visually hold the viewer’s attention and tell the story. I spent a lot of time adjusting the timing of each glitch, making sure it felt intentional and not random. I also added sound effects that enhanced the feeling of distortion — static, rewinds, digital beeps — all carefully placed to match the visuals.

In the end, editing wasn’t just about cleaning up the footage — it was the storytelling. The glitches, speed changes, and cuts all worked together to show the breakdown of reality from the character’s point of view. Without those choices, the film wouldn’t feel nearly as intense or immersive.








Self Evaluation

Working on Glitch in Reality completely changed the way I look at filmmaking. It forced me to let go of traditional storytelling and trust visual language to do the heavy lifting. There’s no script, no dialogue — just movement, editing, and atmosphere. That made everything more difficult but also more personal.

I handled everything myself: shooting, acting, editing, sound design. That level of control was empowering but also exhausting. It taught me how to plan ahead, troubleshoot problems quickly, and make the most of very limited tools. I shot everything on my phone and used natural light in most scenes. Still, I was able to create a world that feels eerie, unstable, and emotionally disconnected.

One of the main goals of the film was to make the audience feel like something was “off,” even if they couldn’t explain why. To achieve that, I used mirrors that didn’t reflect properly,  looping movements, and scenes that break continuity. These details weren’t just aesthettic they represented the mental glitch the character was experiencing.

What I learned from this project is that filmmaking doesn’t need to follow the rules to be powerful. In fact, breaking those rules helped me say something deeper. I found myself relying more on instinct than logic, and in doing so, I created something that truly reflects what I was trying to express.

This film is far from perfect, but that’s what makes it feel real. It’s messy, confusing, and strange — just like the emotions behind it. And that’s exactly what I wanted.

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