Landscapes inside of the stone, the crystal, the prism. Breathing in the colors of light. Does purely with exposure and film what some people have done, much later, using digital means. Ending comes on as a shock, there's a moment where the light becomes figure and it's clearly too much so we leave the realm of the abstract and return to the figure.
(on screen title is Esciue so not sure why that's what is listed as an alternative title instead of the regular title with Échoué being an alternative? )
Lacks the gravitas that Carasco accomplishes but enjoyable nonetheless, some of its decisions are very much indicative of the year it was made but there's still something very interesting that happens with the editing and sound in tangent.
It severely bugs me that the dominant form of film in 2016 is a mode of narrative film-making (& film criticism, & understanding of film, & viewing habits of film) that derives explicitly from the confines of late-capitalism. When viewers think that acting is the most important thing in a film, the producers can capitalize on that by creating a star system in which familiarity & hegemonic style is read as "objectively good" while unfamiliarity & variant style is read as "bad acting." Similarly,…
Second watch cements that not only is this one of the best films ever made, but it's actually a perfect hybrid between narrative & experimental/affective/gestural/whatever filmmaking. Endlessly beautiful, the sound design is perfect, there is nowhere I want to visit/live/exist/die more than Lanzarote, the Mediterranean Sea is literally the home that I ache for, the elliptical experimental medical facility narrative + bodies in touch with the sea + an unknowable need for escape is literally everything. I am so so so…