There's a moment after something breaks where you don't really know what comes next. You only know that what existed before no longer fits.

This is exactly where my mind went when I first saw The Fragmentation on DCP. The second chapter in a trilogy by filmmakers Eva Muilerman and Lisa Danilkovych, the short lives in that moment of uncertainty when what you know unravels.

Following The Motion, which introduced a woman caught in the grinding cycles of time, expectation, and performance, The Fragmentation turns inward.

The film, shot on 16mm, is almost ethereal in how it feels and moves, but it's not an escape story. It's a confrontation.

Breaking free isn't clean, linear, or heroic. Rather, it's muddy, repetitive, and oftentimes visceral.

We spoke with Eva and Lisa about why fracture can be necessary, how earth became the emotional language of this chapter, and what it means to build experimental cinema as young women outside traditional structures.

Eva and Lisa are just finishing their third year of university in Amsterdam, and they're already establishing themselves as incredibly promising filmmakers.

All I'll say is you need to hear it straight from them:

1. The Motion, The Fragmentation, The Deliverance— your trilogy feels like a full emotional evolution.
How did this three-part structure come to be, and what emotional or philosophical through-line connects all three?

This three-part structure formed through a shared need to articulate a process of transformation. We have always understood our work as a journey through the motions and frequencies of life as women. After The Motion, which established the state of feeling stuck in a society which oppresses and constrains, the next intuitive step was to explore what it means to begin breaking from these constraints, not as a clean escape but as a visceral and uncomfortable experience. Certain visuals, smells, and textures quickly came to life, leading us towards The Fragmentation as a sensory rupture rather than narrative continuation. The Motion was never the end goal, but the beginning of a larger emotional transformation, one that moves through fracture toward eventual release.

2. The Fragmentation draws from 1970s experimental women filmmakers like Rose Lowder and Barbara Hammer.
What draws you to that lineage, and how do you translate their spirit of rebellion and form-breaking cinema into your own generation’s language?

We are drawn to the lineage of 1970 experimental women filmmakers such as Rose Lowder and Barabara Hammer because of their commitment to politically inclined and embodied cinema. The forms they work with transcend past dominant cinematic conventions and create a space where the world can be experienced through sensory emotions. We try our best to honor their lineage through engaging with non linear narrative forms while foregrounding female subjectivity in the themes we engage with, where experimental art becomes a site for lived experience besides a stylistic choice. We position our works as a continuation of their resistance by responding to today's social pressures in our art while honoring the freedom these filmmakers carved out.

3. Each chapter of your trilogy embodies a natural element— from water to earth, and soon fire.
What inspired this elemental approach, and what does “earth” mean to you within the emotional and visual texture of The Fragmentation?

Each part of our trilogy embodies a naturalistic element resembling one of the many multitudes of a woman. We begin our story (The Motion) by diving into the water, an element of binaries bringing both tranquility and destruction, which our characters interact with at various points of the film. Flowing like a river, our story continues in the second part (The Fragmentation) resorting into earthy mud resembling the process of transformation and calibration of senses. Our characters must break free of the constructed reality around them by fighting through thick dirt of societal expectations and perceptions. What's next? - The Deliverance - a final chapter of liberation, conclusion and spiritual death. By combining fire and sand we create glass for our characters by delivering them a resolution, fragile yet strong. Now it is up to them to take control of the narrative.

4. Motion Dames Productions was founded to amplify student and female voices through cinema.
What have you learned from building a creative collective so early in your careers, and how does collaboration shape your storytelling?

Founding Motion Dames Productions together has shown us how trust and openness in a non-hierarchal space allow ideas to evolve beyond our individual perspectives, and strengthen our work all together. The collective input of our team is something very special to us, as it has amplified multiple voices which might otherwise have remained unheard and shaped our storytelling into a shared and embodied process rather than a singular vision, mirroring the themes we wish to explore in the trilogy. 

5. As emerging filmmakers working with DCP and Base, how do you see Web3 intersecting with experimental film?
Do you think onchain tools play a role in expanding access, visibility, or creative autonomy for artists like you?

Aside from The Motion and The Fragmentation, The Deliverance is a final part of the trilogy, which will be built upon the progression and succession of the two previous films. There is a possibility of expanding our three short films into a single complete work of art, yet that is a step which we are postponing until after the completion of the three short films. We also expect further collaboration and recycling of our film stock to expand the medium and creative reach of the short film and evolve into collaborations with bigger artistic institutions that specialize in visual art as well as experimenting with online mediums like Web3 to create an accessible artistic intersection between artists and the audience by maintaining creative autonomy after posting on the platform.