Quote
According to Hernández, the banner of the Cannes Festival shows its three premises: glory, money and politics. He presented a film on that date and makes Citron pressé au Blue Bar as a critic and a newspaper at the same time.
If you film the banal, the naive and the superficial of the atmosphere in Cannes at that time, it is for nothing more than to rescue the beauty of the water of its sea.Read More »
Synopsis
Portrait of the filmmaker’s mother during her visit to Paris.
Review:-
Probably not the first and certainly not the last experimental 8mm-film about an elderly person at the threshold of life and death. But Hernándes’ unique sensibility for the relation between… well… matter and spirit and the way how the one reflects the other with the help of film makes this one special. In a way Sara is already part of the cemetery where the filmmaker meets her, her life is reflected in the place where she will come to rest, but the place also comes alive in her presence. This is why we see marble statues juxtaposed with her wrinkled face. The film maps this entanglement of life and death in a hyper precise and non-sentimental way. Review by MephisdopelesRead More »
The tetralogy pieces are dominated by the concept and presence of death, foreclosure, fetal vertigo. As such, CRISTAUX is a real descent into an inner labyrinth, which we do not know if it is organic or cultural. At the same time, the film contains a dialectical break that initiates other semantic directions in Hernandez’s work. Under the influence of Michel Nedjar, the filmmaker abandons his traditional method of editing based on rushes. The operation is now completed inside the camera, filming. This more flexible way of proceeding (“the camera must become a second eye”) is already reflected in the clear openings of Lacrima Christi: the Christian myth seems to be on the way to exorcising. The pantheistic intoxication – close to that evoked by Nietzsche – seizes places, objects and participants.
-LetterboxdRead More »
IMDB:
A personal interpretation of Oscar Wilde Salome from three basic elements: the light, the color and the projection speed.
“Ce film n’est pas l’illustration d’un récit historique ou d’une pièce de théâtre mais il est structuré par sa dynamique propre et trois éléments basiques: la lumière, la couleur et la vitesse de projection. Par leur interaction il vise le regard du spectateur.
Le film propose un questionnement sur:
1) ce qu’il génère c’est-à-dire sa propre histoire;
2) l’imaginaire du spectateur et son regard;
3) le seul dehors questionné: le devenir de l’image qui est sa seule possibilité d’être. (…)Read More »