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HERMES

ADAPTASI CYCLE 2025
Directed by Mit Borrás. Creative Director Rachel Lamot, Perfomed by Elan D’orphium, Music by Soviet Gym and Mit Borrás,  Production Design Cavve.
Special Architectures Zaha Hadid, Kathryn Findlay, Puerta de América. Images courtesy of the artist. © Mit Borrás. Film. 4K. 12 Min. 2025


Hermes (2025) is a visual work by Mit Borrás that, from a transhumanist approach, explores the boundaries between the human, the technological, nature, and the divine. Through a contemporary, avant-garde digital language, the film and its performance offer an alternative and futuristic version of the Greek deity Hermes, inscribed in a new passage of his history, in which an initiation and transit ritual is celebrated. His figure is transported to a renewed underworld, which redefines both classical mythology and the perception of death, the spectral, and the spirit of time. The work is inspired by cyborg theory, integrating concepts of biomechanics, and presents bodies and forms that are both botanical and animal, as well as bionic and prosthetic. These become metaphors for cyborg deities and technological worship within new digital spiritual rituals, shaping a folklore of the future. With Rachel Lamot as creative director and co-writer, Hermes features the prominent participation of Elan D'orphium, who plays and delivers an exceptional performance as the deity of the underworld, Hermes. In this ravaged universe of glacial landscapes, with organic and brutalist architectures, wild nature and technology coexist in a tense balance. The work offers a vision of an "afterlife" where death is not only a transition but a continuous process of adaptation and transformation. Hermes, the protagonist, presents as a hybrid entity: a deity whose body merges with prosthetic and biomechanical elements, a cyborg that traverses the boundaries between the spiritual and the material. This transhumanist vision, which addresses the relationship of the human being with technological progress, is both unsettling and sublime.

Botanical nature plays a fundamental role in the work, not only as a metaphor for life persisting in desolation but also as a representation of the spiritual connection with the environment. Yoga and meditation elements, present throughout the film, add a philosophical layer, reflecting on the body-mind balance and transcendence in a world where the organic and synthetic merge. The glacial landscapes, along with the pastel-toned aesthetic, create a dreamlike atmosphere, while the representation of the afterlife evokes not only death in its classical form but the spectral presence of the future: an existence where the ghosts of time and new mythologies emerge in a completely alien environment. The gender and queer perspective intertwines with Hermes' figure, who transcends conventional notions of the divine and mortal, representing a fluid, changing identity that challenges the limitations of classical divinity and the human being. With an operatic and sublime aesthetic, Hermesemploys a unique hybridization of cinema and performance, where slow-motion camera movements and electronic, dark ambient, and minimalist sounds immerse us in a sensory experience. The work challenges the boundaries of the familiar and the strange, in a palpable recreation of the uncanny valley, where the real and the virtual merge to construct a new mythology for the future. Through its innovative visual and sound language,Hermes not only questions death but also what it means to be in a world where the body, the machine, and the spirit become one entity. The work invites profound reflection on progress, transhumanity, and the relationship between the human, technology, and the eternal.
















































































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