He does not move his camera. The immobility of the camera, which often takes a frontal position towards its subject, presents a constant frame and in this sense establishes a meaningful framework for much of his work. The filmmaker's interest focuses on the fragmentary and, more precisely, on the single frame as it, being the smallest filmic unit, contains a complete world in itself while remaining indivisible. His films are made out of very few shots, or even a single shot, yet often every single frame of each shot is used, exactly once, and always in an inventive and unconventional setting. Rhythm and movement are the keys to Kels' editing.
Independent frames interact in precise choreographies.
The absence of sound and music only underlines the powerful play between movement, intervals and unconventional duration and makes the musical qualities of cinematic language all the more tangible. Fascinated by the paradox between the seeming randomness of movement in nature and the repetitive process that seems to characterize much of what takes place in the world of animals and human beings, Kels, in some of his films, imposes a metric scheme upon the non-staged events he shoots. Far from remaining simple schematic experiments or becoming overly mannered, his films become intelligent plays with order and chaos, repetition and change, expectation and the unforeseen, the old and the new. Worlds of contrast, tension and dialogue emerge as much on a symbolic level as on a cinematographic one, evoking a wide range of references and emotions, and often showing a subtle sense of humor. Kels consciously conceives major parts of his films in his mind, far away from the editing table.