Synopsis
Albert Einstein wrote in 1955, following the death of a close friend: “The distinction between past, present and future is only a stubbornly persistent illusion.” This quote resonates deeply with the philosophical core of the film.
The story follows Rebecca, a Viennese ceramic artist, on an intimate, spiritual journey across four different timelines.
In the present, doctors in a Parisian hospital are fighting to save Rebecca’s life. These scenes are raw, immediate, and painfully real. As she drifts between consciousness and unconsciousness, her memories pull her back to the events leading up to the tragic car accident—an impulsive kiss, a chain of consequences, a loss. Rebecca carries her pregnancy in silence, keeping this secret to herself – loses her unborn child… and eventually, her own life.
The other two timelines explore alternate futures—visions of what might have been. In one, the baby is born and she stays with François; in another, she has the child but chooses a new path, leaving behind her former life. These futures are not answers, only possibilities. What if…?
Guiding her through this inner landscape is a mysterious figure: the Witch of the East Wind. He appears as a puppet, but he is much more—Rebecca’s conscience, her inner angel. He does not judge. He observes, prompts, and gently leads Rebecca to her own revelations—acceptance, responsibility, and ultimately, forgiveness.
The film purposefully withholds key information, revealing it gradually to engage the viewer in a slow emotional and psychological unraveling. Through poetic visuals and a meditative tone, it offers space for each viewer to reflect personally. It is not a story that dictates, but one that invites the audience to embark on their own emotional journey.
Starring
KRISTINA LORENT GOZTOLA – Rebecca
Crew
PETER KORDAY – Director
KRISTINA LORENT GOZTOLA – Writer
PAUL S. HAMMARY – Cinematogapher
MARTIN LUKAS – Original Music
PETER KORDAY, KRISTINA LORENT GOZTOLA – Producers
This film was born from silence.
Not a silence of absence, but of interiority — the kind that arises when words fail and only images remain. I wanted to create a cinematic experience that doesn’t explain but evokes; that doesn’t follow a strict logic, but instead flows like a dream — fragile, elliptical, and emotionally raw.
Soft Floating in the Fields of Spheres explores the invisible mechanics of memory, time, and the human soul. It’s about what we carry — the choices we did or didn’t make, the people we loved, and the lives we never lived but still somehow feel.
I am fascinated by the subconscious: its power to shape us, to guide us silently through trauma, beauty, guilt, and transformation. Through Rebecca’s journey across multiple timelines — real and imagined — I wanted to ask: what happens to the parts of us that go unlived? Do they vanish, or do they remain suspended somewhere — waiting?
Visually, I was inspired by poetic cinema — filmmakers who prioritize mood over exposition: Tarkovsky, Bergman, Kieslowski. Emotionally, I aimed for something intimate yet universal, where the viewer doesn’t just watch but feels alongside the character.
This is not a story with clear answers. It’s an invitation into a contemplative space — to remember, to grieve, to forgive, and to float… softly… in the shifting fields of our inner worlds.
— Peter Korday
Trailer
Awards click here:
https://goldwoodpictures.com/awards
Critical Analysis from Macoproject:
https://goldwoodpictures.com/blog/soft-floating-fields-of-spheres-critical-analysis
