This is a picture of the restless modern man. Having achieved enormous technological advances and claiming to be the bearer of the highest intelligence on the planet, he is torn by contradictions and still subject to countless unconscious influences coming from his inner dark world. In DISTURBIA, this modern hero is presented in the collective image of BIRD-MAN. He is neurotically dependent both on the social pressures of his environment and on the powerful waves of the unconscious in his own psyche. Threats to him come not only from outside, from society, represented in this case as a forest with the beginnings of its own will and emotions, that symbolizes the powerful collective unconscious of the crowd, clogged with ineradicable childhood attitudes, petrified stereotypes and latent hysteria. The threat also comes from within, from his own unrecognized nature and rejected parts that fill his soul with tension and moral conflict. The internal conflicting impulses receive external manifestations and the hero, in an absurd way, begins to physically multiply and divide, tear, transform, absorb, sublimate... He hates and loves himself, rejects and accepts himself, and this clearly affects the form on his body. Thus, passing through rather painful and strange external transformations, the BIRD-MAN finally succeeds in an almost al-chemical way to reach his wholeness and humanity. The main action of the film unfolds within a frame of figures moving in a loop. These loops represent various stereotypical social behaviors, recurring human fears, paranoid attitudes, and blind spots in society. The constant movement overloads the senses, but this is the desired effect. Making this experimental film I dived into an investigation of subjects like identity and trauma, moving on the line between the sociological and the imaginary. Thus, I shaped a story of dissociation and integration, which through absurdity and symbolic language represents my personal anxieties about the increasing tensions of the global world and provoke viewers to project their own anxieties about war, climate, and identity onto these shifting forms.