Light Film (I) is the debut work by Passmore Locher — the collaborative practice of filmmaker Jacqueline Passmore and architect Heidi Locher — whose work explores the fertile ground between moving image, spatial experience, and the material realities of the natural world.

Shot on location in an olive grove in Puglia, Southern Italy, Light Film (I) stages a discreet yet evocative intervention. A square of white light — the most elemental expression of cinematic form — is projected into darkness, illuminating a solitary olive tree in the stillness of night. Behind it, a cloth screen suspended in the landscape catches the shifting shadows of leaves and branches stirred by the wind. The resulting image is neither staged nor fixed: it is a live, site-specific "film" in which nature composes itself in real time, without a script or score.

Referencing the lineage of structural film, land art, and the elemental poetics of artists such as James Turrell and Anthony McCall, Light Film (I) strips cinema to its essentials — light, time, space — and hands agency to the environment. The projection does not dominate or narrate, but instead reveals what is already present, inviting viewers into a meditative encounter with transience and presence.

Crucially, Light Film (I) does not treat the screen as a surface of control or containment, but as a membrane — one that vibrates with weather, breathes with the land, and dissolves boundaries between constructed and organic space. The work questions not only what cinema can be, but who or what gets to author it.

In an age increasingly defined by simulation, mediation, and spectacle, Light Film (I) returns us to the elemental act of watching — not to consume, but to the deeper mystery of bearing witness.