MORE CARNAGE FEATURED: DAVID ANTHONY SANT - “SUCCESSION”
Succession feels like stepping into a metropolis undergoing a quiet psychic rupture. LED veins pulse through high-rise architecture; neon signage hums its own soft dirge. The city is awake, but not alive—caught somewhere between spectacle and surveillance, seduction and overload. Sant’s lens doesn’t document Seoul so much as exhume it, peeling back layers of light until the city reveals the choreography underneath: one of repetition, reflection, and accumulating pressure.
There is no single vantage point here. Everything gleams. Everything speaks. Billboards become oracles. Graffiti becomes a survival note. Alleyways twist into mirrors that refuse to give you yourself back. This is a work of urban dissonance—one that refuses polish not by embracing chaos, but by showing how chaos is structured, lit, branded, and sold back to us in hourly cycles.
Within the ethos of MORE CARNAGE, Succession occupies the territory of quiet activism. It doesn’t scream. It flickers. It accumulates. It risks subtlety in a world obsessed with spectacle. That risk is its strength. In a collection where rupture and emotional extremity often take visceral form, Sant offers a different extremity: the ache of hyper-urban overstimulation, the pressure of infinite signage, the vertigo of a city reflecting itself until the human inside begins to ghost.
We selected Succession because it captures an unspoken truth of contemporary life: sometimes carnage is not explosive—it’s luminous. It glows at us from every corner, every tower, every animated surface, promising meaning while slowly eroding it.
It’s beautiful, and it’s brutal, because it never tells you where to look. It just asks you to keep walking.
ABOUT DAVID ANTHONY SANT
David Anthony Sant’s filmmaking unfolds where space becomes experience. His work is recognised across international experimental film collectives for its fusion of improvised visuals and sound. Through urban environments—avenues, plazas, office towers, and the restless geometry of modern cities—he investigates how location shapes perception. His films explore spaciousness, disorientation, and the visual language of movement itself. Working in an extemporaneous mode, Sant builds films that feel discovered rather than constructed, allowing the city to lead and the image to follow.
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