Film-Making

Betshy X0 is a director, producer and actress when it comes to film-making.  On June, 2016, after being inspired by a company called “DREAMSTATES”, which released a beautiful, artistic film made with two mobile phones; she became addicted to motion arts.

 

TELEVISION CODE (2017) – “The electromagnetics of political illusion”

This film will take you on a short journey to Hollywood a few decades ago. How does the industry work? What was considered appropriate television back then? What was taboo?

What has changed? What remains the same? How is TV connected to the quantum world?

This thought-provoking film will attempt to balance contrasting dichotomies, whilst providing visual explanations about the principles of electromagnetics. Betshy X0 manages to capture the audience, and creates a direct connection between people, the politics of illusion, and the quantum field.

The quantum revolution illustrated in abstract art. This is the code of television, in motion.

Created with Kdenlive in #Linux.

 

RAW APOCALYPSE (2016) – “Exploring the awakening mind”. 

Betshy Xo uses conceptual filming, portraying a controversial perspective of the political scene of the world, whilst also tapping into the “divine” nature that comes with the awakening.

It promotes the beauty that comes from seeing beyond the established structure. This is often the case with people who are diagnosed with mental health disorders such as schizophrenia and psychosis.

The film was mostly shot in Plymouth with a Sony Xperia and edited with Openshot, #Linux.

 

 

THEY DON’T HAVE US (2016) – “The poetry of spiritual revolution” 

This video is an illustration of the mental commotion that comes with activism.

During the process of awakening, we go through many experiences that can feel “out of this world”. We also tune into political truths and agendas that are capable of shaking our whole reality to the point of opening our eyes wide.

The male voice in the song is Christian Powell, an underground musician from California.  The film was shot with a Sony Xperia, and edited in Openshot, #Linux.

 

 

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