This thesis explores cinema as a space where reality fractures and the self becomes unstable, fragmented, and uncertain. Through images and sounds that blur the line between dream and nightmare, cinema is treated as a critical tool to investigate the human mind, memory, trauma, and technology. More than entertainment, film becomes a philosophical laboratory that questions identity, perception, and subjectivity. Combining theoretical research with visual experimentation, editorial design, typography, imagery, and short films, the project invites the viewer to confront the fragility and multiplicity of the contemporary self.

No one laughs; the game is never innocent, and freedom is only a fragile illusion. Figures move through suspended gardens, sterile rooms, pristine forests, and living rooms turned display cases. Every gesture carries weight, every action is observed, measured, judged. Masks are not ornaments but deforming mirrors, revealing hidden power, concealed violence, and the cruelty that hides within kindness. These shorts show a world suspended between what we see and what escapes, between what exists and what we believe exists — a silent, haunting exploration of control, obedience, and the shadows of childhood that linger in every gesture.