That particular copper corset sold at auction for €4,200 to a private collector in Tokyo. Moona refused to sign it. “It already has my signature,” she said, pointing to the dried bloodstain. The Sound of Silence: A Battle with the Audio Team Perhaps the most controversial element of Episode 16 is the sound design—or rather, the lack thereof. For the first two minutes, there is no score. Only the sound of Moona’s breath, the drag of wet silk on stone, and the distant clink of those copper chains.
If you have seen the final 4-minute piece—a dreamlike sequence of shattered mirrors, wet cobblestones, and a single red thread pulling through a fogged-up lens—you know the result is haunting. But what you haven’t seen is the three-day tempest of creativity, improvisation, and raw vulnerability that brought it to life. This is the real story of Episode 16. Laura Fiorentino is not a director who repeats herself. Known for her previous nine episodes of the “Ethereal Mechanics” series—where she deconstructed movement through industrial ruins—she initially refused to work with a professional dancer like Moona. Behind the scenes 16- Moona- Laura Fiorentino-...
The second half of the film introduces a single cello note—bowed backwards. Composer Lotte Andersen recorded it in a flooded chapel. “Laura told me: ‘I don’t want music. I want the sound of a memory decaying.’ So I played the same phrase for three hours until the bow hair shredded. Then she used that final, broken take.” Over lunch (cold rice balls and oversteeped tea), I sit down with Moona. She is smaller than the frame suggests, with hands that move like she is perpetually tracing something invisible. When asked about the physical toll of Behind the Scenes 16 , she laughs—a dry, percussive sound. That particular copper corset sold at auction for