using leaves to physically isolate a sentence as means of highlighting it...is extremely blanca-coded!! really nice.
as is often the case in her work, dramatic exposure changes here make us acutely aware of the effect on color...all viewing phenomena is always about light at the end of the day.
With his hypnotic whip pans and circular rotations, Hernández liquifies the physical world with ease, melding it to his vision and creating a new plane of existence, parallel to the one we inhabit in our daily lives. It’s Teo’s world, we’re all just living in it. Hernández’s film language is completely singular, yet not one that was developed in isolation. In making films together and projecting their work for one another, Hernández and his collaborators developed a common visual grammar…
Absurd as it is that this has occupied the top rated spot on this site for about two years now, no other work in recent memory has bridged the gaps between serial narrative drama and experimental shorts, the standard cinematic look and wild amateur energy, 'TV' and 'cinema' with such cool assurance. There are endless cliffhanging threads of mystery to hook the casual tv viewer who just wants 'an immersive story', there is expansive 'world building' for those types who…
“People sometimes ask why I make films about flowers, whether there are not more important things to do today than to make films about flowers. My answer would be: are there really more important things?
If we don’t have flowers, we don’t have bees and, if the bees disappear, we’re going to disappear as well because the bees are an essential link in our food chain. When a society cannot sustainably produce its own food, it disappears. Hence the answer is that flowers are a relevant subject for a film.”
—Excerpt From: Rose by Rose Lowder.
Read + Watch my homage to Rose here:
ultradogme.com/2021/03/08/winter-for-rose/
