Still the Earth Moves

The new film by the unruly director of The Letters (Lost Lost Lost 2018) anticipates this time: it's an experiment in which the language has been radically separated from the language of theater and literature. In search of analogies, one would be tempted to quote Jean-Luc Godard about thinking not with the head, but with the hands holding the camera, which true filmmakers should practice. The action unfolds in the undulating hot air, but instead of following an orderly path of logic, Gutiérrez pushes his viewers towards "alogical compatibilities." Once again, forsaking realism and the detachment of a documentarian, the director combines different means of expression and orders them into a cinematic essay about the nature of the world, its diversity, matter, astonishment, beauty, and unease? The absence of hierarchy nullifies the question of "what?" and turns towards "how?" This is yet another example of impressionistic cinema in this year's Lost Lost Lost program, which encourages viewers to transcend the dramatized narratives of traditional storytelling and, ultimately, its unreal view and understanding.