Welcome to ‘2222’

Face the future in a short film by Indiana Roma Voss.


For those keeping an eye on Glamcult, Indiana Roma Voss has likely become a familiar name. Known for her bold styling, the work of this young fashion visionary at all times questions norms and celebrates anomalies. Today, the stylist returns with a project that’s again forward in theme, but different from her previous work in terms of medium and aesthetics. Presenting a “dystopian prognosis of human existence”, find yourself transported to Indiana’s image of the year 2222. Watch the vision unfold below, and read up on the story behind the film.

Hi Indiana, how would you define dystopia? And what about utopia? 

The ultimate dystopia would be humankind totally disconnecting from nature and people not caring about other people outside their immediate social circle. Utopia to me is a sense of togetherness, a social/political safety net for all social classes while coexisting with the earth and seeing Mother Nature flourish again.

Why the year 2222?

The title, 2222, is a play on the expression ‘catch 22’ because a lot of the film’s content is based upon technological advances and how they will affect humankind in the future. It’s my way of saying we’re damned if we do and damned if we don’t.

Your short film paints a gloomy picture of the future. Do you still have hope for Planet Earth?

I hope that the serious (dare I say dire) status of the current social, political, racial and environmental situation worldwide is a call to immediate action and education. I can have hope for planet earth in the future.

What would you say to those who are unconcerned about our future on this planet?

Wake the fuck up! Change needs to come from the collective in order to become permanent change, and you are holding back the world by being too scared of reality to look at the facts.

How did you go about finding a visual direction for this theme/film?

The visual direction and theme of this film was really interesting for me because it’s far from the aesthetic I usually work with. This is why I wanted to do a lot of research prior to filming and collaborate with director Andy Tan. I began with academic research, reading into scientific predictions on human behaviour and technology. From there I began watching sci-fi films and TV shows such as Black Mirror. For the actual aesthetics I researched artists such as Fecal Matter and Salvia.


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