music video

Concumer landscape

Slow motion shots are often used for marketing purposes. Macro shots of slowly dripping chocolate, mineral water or alcohol makes a big part of advertising. This time, it is the waste that slowly floats in the air. Piles of garbage, toxic chemicals and oils bursts from the grounds marking the success of consumerist culture. Meditative editing dynamics encourages to rethink consumerism and its culture.

Iceland objects

is a kind of video painting in which the camera draws intricate compositions comprised of the beautiful Iceland landscapes and random objects placed in it. These compositions remind of accidental installations that tell different stories of things left behind, abandoned, forgotten and no longer needed. These are the stories of human beings' encounter with nature, of beautiful and dark fantasies of the grandeur of the man-made objects and of the pleasures of recycling them and one's own gaze at them.


The main concept is to record the vanishing objects of ''cosmic'' architecture, works by Baltic states architects in the soviet period, buildings of amateur architects, other interesting objects that are not entered into the list of architectural heritage. The Soviet period mostly for everyone without exception in post Soviet lands, raises a number of controversial feelings - someone misses communist times, others have angry attitude and say this period should be erased from our memory. The youngest generation know a little of this period and is likely to consider it negatively. Any project related to topic of Soviet society causes a lot of discussion. It is still a sore subject, feared to gain "too much" attention. Paradoxically, while these buildings of Soviet architecture are slowly collapsing with no attention from government, foreigners are exploring and preserving artifacts of Soviet architecture, publishing books and films about design and lifestyle..


Discotheque evokes ambiguous emotions of nostalgia, sadness, concern, anxiety and curiosity. It is comprised of many segments that narrate, through images, movements and sound, stories of different people and social groups. This work reminds of certain biographies of gaze, sound, movement, human interaction and emotion. Children with pure and hopeful faces and gestures, hipsters dancing out their indifference to passers-by, male inmates’ tattooed bodies that speak not only about their destroyed dreams but also about unpredictability of those dreams, older people attending a discotheque at the outskirts of Vilnius, inhabitants of the retirement home who move as if their lives have already been finished, and a male transvestite making up his face ravaged by drugs and alcohol – it seems that all these agents, in Levulis’s film, incessantly ask us: What does it mean to have a life? What comprises a “good life”? These questions are not accidental since the lives of most agents of the “дискотека” are either at the starting point or stuck in an indefinite impasse or almost ended. Moreover, their lives significantly contradict the perception of a “good life” dominant in Lithuania. Because of this reason, the enumerated people or social groups’ lives are considered as unreal, improper, non-existent, marginal and often unfit to be visible.