There’s a certain irony in a designer trained in digital tools falling head over heels for analogue. But that’s exactly what happened to Alexander Koletzko. After graduating from his Design studies in Münster in August 2025, he did what most fresh graduates don’t: he walked away from the clean precision of the screen and towards something messier, more unpredictable, and, as it turns out, far more alive.
What drew him in was imperfection. The scratch, the smear, the happy accident that no software can quite replicate. For Alexander, the flaws in analogue work aren’t bugs to be fixed – they’re the fingerprints of a human being, proof that someone’s hands were actually involved. Since graduating, he’s been experimenting with different analogue processes to bring motion to life, finding his own language in the gap between control and chaos.
Kinomural is one of his first steps onto the international stage, and judging by what he’s already making, it won’t be the last.
One rule. Spray-painted dots, and nothing else. From that single, stubborn constraint, Alexander Koletzko built an entire world. Dot by dot, scan by scan, the film accumulates into something you didn’t expect: movement, pattern, rhythm. Order creeping out of chaos, then chaos creeping back in.
There’s no story to follow here, no narrative to grab onto, just the hypnotic logic of repetition doing its quiet work on your perception. Watch long enough and the dots start to breathe. The film doesn’t ask you to go anywhere. It asks you to stay, and see what changes.
The soundtrack was made by a friend. Some of the best things are.
