In art, there's an inner truth and greatness to the dissolution of context.

A film of almost dialectical rhythms, speeds, and forms, Isiah Medina's fourth feature is a remarkable marrying of philosophical discussion, ecstatic montage and precision framing, that marks yet another striking addition to his rapidly growing body of work.

Commissioned by the Agnes Etherington Art Centre, He Thought He Died centres upon a painter staging a heist to steal back his paintings from the vault of a museum, and a filmmaker who just so happens to be conducting research at the museum on the very same day.

Where his previous film Night is Limpid was driven by dialogue, with He Thought He Died, Isiah Medina turns his attention firmly to the frame, be it the frame of a painting or those of the very film itself, whilst also returning to a form of montage increasingly modulated by music.