ABOUT THIS FILM
Human beings are social creatures. We inherently long for a sense of connection with others and often analyze our environs through a lens of deep social consciousness. Despite our innate sociability, however, certain everyday events can place us in uncomfortable—if amusing—situations. One such situation is riding the elevator.
Lift explores the paradox that exists between our human desire for community and our timidity during impromptu social gatherings. Using the raw unsteadiness of video phones—an aesthetic choice that gives the ﬁlm a one-of-a-kind participatory quality—Lift captures the bustling atmosphere of a crowded elevator, as well as the sights, sounds, and intimate proximity with perfect strangers that riding an elevator provides. The ﬁlm is a metaphorical invitation to meditate on the idea of riding an elevator and, hopefully, a literal opportunity for observational and audial participation.
Because most of us ride the elevator daily, we often regard the event as mundane. In contra to this widely accepted notion, Lift reveals the uniquely irrational rules and norms associated with being on an elevator, along with the rich diversity of community that accompanies being in a metal box with other humans. As a whole, Lift makes the argument that the very act of traveling between ﬂoors may be understood as a microcosm of society; an existential journey into the collective hope, fear, struggle, and resiliency of humankind. - GEOFF COOPER
Regardless of perception, throughout history the elevator has played a pivotal role in the transportation of people. The thought process behind making this “film” was that it was not a film at all, but a social experiment. With Lift, I wanted to capture and examine the various forms of interaction, self-exploration, and boundaries created within this experience.
While voyeuristic in execution, the objective wasn’t to to invoke a particular emotion about the subject matter, but spawn discussion about a facet of life that is familiar to many but thought about by few. Footage was shot during a span of 4 1/2 weeks on various commutes to and from, and kept in its rawest form. We wanted the subjects and scenes presented to remain true to the element at hand. - JUSTIN DANE ROBERTS