The core concept behind my project will follow a similar narrative structure as my previous film poem. This rather art-house approach to a linear narrative with little to no dialogue will act as a social commentary for the unconventional ethics many surrealist artists take when conceptualising and perceiving the everyday events around them, later transforming the most common occurrences into timeless works of art. The male protagonist in the film will be introduced during the preparation process of his new painting, having the entire plot revolve around this mysterious artwork created throughout, only revealing the final product during the film's last shot. This rather basic concept will destroy the audiences' set expectations once the painting is revealed to be of a stupidly simple nature, juxtaposing the serious and professional tone previously examined by our protagonist. My interpretation of the character's motives lies within his growing distaste for the commercial side of art, despising what many of his peers have become while constantly provoking the elitist upper-class consumers with his jokingly simple art style, a mocking factor that entertains him after seeing the monumental lengths people reach when interpreting his paintings. I want to introduce a specific movement or politically motivated protest that gives away a lucid understanding of the time period he is living in, initially inspiring our artist to create the previously mentioned work of art, introducing an extra layer to the film's narrative. The setting of this story will take place somewhere in the heart of France, allowing me to revisit much of the 60s music I had collected for my previous project, creating a comprehensive score that matches the film's desired atmosphere. I will once again utilise the same Wes Anderson typography approach when introducing the audience to a specific location or item important to the overall plot. While still utilising the God's point of view rig I had built for my short film project, much of the framing through this film will appear flat and rather two-dimensional in depth of field, having many shots appear to emulate the general structures of famous paintings created by artists such as René Magritte and Man Ray. A crucial aspect for the success of this piece will be the in-depth storyboards I produce for each section of the film. Much like my film poem, I will create a justified list of alternative shot types that allow me to experiment with issues that may occur, playing around with specific areas of the edit that feel slow and harmful to the main narrative. Throughout my project, I want to experiment with a greater list of inspirational attributes that convey a very personal reflection on what I enjoy about my favourite directors. Peter Greenaway's muted sun-washed colour palettes used through his 1988 comedy-drama 'Dronwing By Numbers' will assist the film's overall cottage-like aesthetic, having Wes Anderson's cleverly crafted montages aid the heavy exposition dump for the different inspirations our artist encounters halfway through the film. The odd fragmented, discontinuous and long-take editing techniques of the French New Wave Cinema will allow me to utilises a more grounded emphasis on the small attention to detail, creating a strong re-watchability factor that makes the audience notice different aspects of the set design every time they watch the film.