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Pepper

Film20267 min

Directed by Daniel McIntyre

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Told through athletes in moments of focus, Pepper examines the self, homeopathy and the pressure of time passing. The first film of Goes Electric, a new series of experimental documentaries about reality and pseudoscience, Pepper centres on the conflict between the demands of performance and the realities of the mind. Constructed from hand‑painted and electrocuted black‑and‑white 16mm film, the project is produced through Autocolour, a self-developed colour film process using only black-and-white chemistry and ink to produce colour images. Each frame is rotoscoped and combined across three passes of 16mm film, creating a controlled, saturated image that anchors the film’s material approach.Read moreLess

Told through athletes in moments of focus, Pepper examines the self, homeopathy and the pressure of time passing. The first film of Goes Electric, a new series of experimental documentaries about reality and pseudoscience, Pepper centres on the conflict between the demands of performance and the realities of the mind. Constructed from hand‑painted and electrocuted black‑and‑white 16mm film, the project is produced through Autocolour, a self-developed colour film process using only black-and-white chemistry and ink to produce colour images. Each frame is rotoscoped and combined across three passes of 16mm film, creating a controlled, saturated image that anchors the film’s material approach.

The story

Told through athletes in moments of focus, Pepper examines the self, homeopathy and the pressure of time passing. The first film of Goes Electric, a new series of experimental documentaries about reality and pseudoscience, Pepper centres on the conflict between the demands of performance and the realities of the mind. Constructed from hand‑painted and electrocuted black‑and‑white 16mm film, the project is produced through Autocolour, a self-developed colour film process using only black-and-white chemistry and ink to produce colour images. Each frame is rotoscoped and combined across three passes of 16mm film, creating a controlled, saturated image that anchors the film’s material approach.

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