Kamias is a green, tart fruit that grows in Southeast Asia. The oxalates it contains can bring on fits in some people or brain disorders that in extreme cases may lead to death. Kamias Road is in the town of Quezon, where the director Khavn lives, and where camera in hand he rebels against the fading image. The legacy of Mekas' lyrical film memoirs hovers over the family scenes. The quick shots present life in a home in the suburbs and simultaneously come together in a kind of hallucinated reality to compose a portrait of the artist.
The ideal camera should have a direct connection to the mind so that it is capable of recording everything we have seen, says the director, and in a strange state of mind, between consciousness and sleep, he attempts to create a film out of registered images, which lodge themselves deep in the memory and are said to be re-evoked by approaching death, so that they can flash the life of the dying person before his/her eyes. The spontaneous images of the subconscious emerge out of the initial indeterminacy of the moments captured: capture everything that you see and that shapes your mind! Such images also point to the potential of digital cinematography, with its adaptability, intimacy, and accessibility, making it an ideal artistic tool. However, technology itself does not drive a film, it can only be an intermediate space, preserving what is seen until the creative impulse transforms its latent presence into a work of art.
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