Evaldas Jansas, the performance and video artist who entered the contemporary Lithuanian art scene in the 1990s, has said about his work: "I am guided by a principle that I would call existential romanticism." This is a precept conceived of by the artist himself to describe the reaction of inner experiences and feelings to social problems, our moral condition, and cultural processes, archetypes and symbols. As in many of Jansas' creations, we can feel quite a bit of existential romanticism in his 2008 film 3 in 1.
The main character and narrator of the film is an outsider, a social outcast. Lacking a clear storyline, the film instead intertwines an epileptic seizure, the euphoria brought on by hallucinogenic mushrooms, and the main character's hopes to win an award. Lithuanian art critic Kęstutis Šapoka maintains that, "This entire delusion would appear curiously entertaining if it were not diluted with a bitter acid of psychology and social sarcasm." You would probably agree that this sentiment perfectly describes the nuances of the film as they relate to social and cultural criticism.
The daily life captured in Evaldas Jansas' video pieces is ephemeral, fragmented and often surreal. The surrealism of the film reveals itself not only in the storyline, visual effects and framing, but also in the fragments of daily life captured in the video that seemingly deviate from normal reality. By capturing such images of the daily routine, the artist becomes a kind of anthropologist and researcher – such is Jansas' creative strategy.