Felipe Posada
ABOUT
The Man at the Edge of Reality is a trailer for an imagined episodic series following Luis de Palencia, a man displaced across centuries, realities, and possible versions of history. Each chapter places him at the edge of another world, from 16th-century Spain and a ritual in ancient Japan to Everest, London, simulated realities, and deep space, gradually revealing that his journey may be part of something much larger than he understands. The trailer brings the legend of Luis de Palencia full circle. The character first emerged as the Fugitive in One Week in Eternity, then unexpectedly resurfaced in CINCH, where his mythology began to expand beyond the original story. Here, Luis becomes the center of his own universe, connecting those earlier appearances to themes I have explored for years in my art series The Edge of Reality: perception, parallel realities, memory, and the uncertain boundary between what is real and what is imagined.
SELECTED FRAMES — 8 OF 8
PROCESS
Approximately 40–60 keyframes were developed for the trailer. After the script was locked, the film was divided into 13 chapters, each built around a distinct scenario and visual world. Every chapter went through its own round of design exploration, including London, a Japanese forest and samurai ritual, a simulation laboratory, the 1565 exodus from Extremadura, Everest, and a space station. Because the production was intentionally compact, I chose to treat the film as a more stylized and artistic exercise rather than pursue strict hyperrealism across every sequence. The visual language also draws from my earlier art series The Edge of Reality, which shares many of the same themes around perception, alternate realities, and the instability of what we consider real. The film also brings the mythology of Luis de Palencia full circle, connecting this episodic concept back to the narrative world established in One Week in Eternity and CINCH. Video generation was developed through node-based workflows in Runway using frontier models including Kling 3.0 and Seedance 2.0. My voice was again used to develop the final narration in ElevenLabs, with an original soundtrack created in Suno. Editing, compositing, and finishing were completed in After Effects.
Credits
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