inanimate objects

His films obsessively linger on inanimate objects—water, mirrors, fire, metal—using them as portals to philosophical and spiritual meaning rather than mere props.

He treats architecture, automobiles, and industrial landscapes as primary characters that reflect human alienation and emotional states in modern society.

His surrealist approach grants inanimate objects—lamps, curtains, machinery—an uncanny, almost sentient presence that generates mystery and psychological unease.