This beautiful film mostly uses superimpositions of minimalistic single colour objects against a dark background, sometimes these appear to be fragments of statues (lovely smooth surfaces, but also with ragged break faces), sometimes metallic objects, sometimes stones or other items. The main colour experimentation is an interplay between red and blue. Sometime dramatic impossible planetary landscapes are revealed, sometimes atomic level details. I saw things like a huge shard of luminescent stone set in a dark cliff high above the precipice, and forests of deep comfort and forgetting. The film also has an element of structuralism, where the grain of the film stock starts to play at low light levels. Later into the running time these fields of energy come to predominate.
The film reminded me of both Pneuma and Alaya, early films from Dorsky; Pneuma has many grain effects (it means the breath of life), whilst Alaya, uncharacteristically for the artist is set in darkness, with wondrous colours. If you like red and blue (hot and cold?) on black, you could do worse than take a look at Victor Vasarely's work Deuton RB, from his portfolio of works "Homage to he Hexagon". A film such as this or a picture such as Vasarely's or the soundscape of the Delibes-ian jungle can be places to hide, portals to soul places, where the indignities of the outside world are washed away.
The film reminded me of both Pneuma and Alaya, early films from Dorsky; Pneuma has many grain effects (it means the breath of life), whilst Alaya, uncharacteristically for the artist is set in darkness, with wondrous colours. If you like red and blue (hot and cold?) on black, you could do worse than take a look at Victor Vasarely's work Deuton RB, from his portfolio of works "Homage to he Hexagon". A film such as this or a picture such as Vasarely's or the soundscape of the Delibes-ian jungle can be places to hide, portals to soul places, where the indignities of the outside world are washed away.