“as artists utilise the bastardisation of image and sound to explore the very architecture of film...we get closer to a cinema of the body. the darkness renders our skin, our surface from the world, invisible. The darkness of the screening room renders us one with the image. our own reality merges with the spectral reality of the image, and it becomes one. a phantom body of sensation.”
The slow pace that's built with the unclear/defocused shots of the flowing water grows to stagnate in beautiful and perfectly clear landscape shots, leading you into the trenchant darkness that'll keep you on the edge of your seat. Disquieting, breathtaking, daunting and poetic.
Hunter's pace works in its favor: It is a relief when the landscape first shows itself, and the labored breathing soon after is unnerving. However it is the final minutes that decidedly bolster it, as Scott presents an aurora borealis of aquagreen ondulations, and finally, blood, set to a very appropriate soundpiece. I keep saying these shorts' greatest strengths are their collaborations with sound.
Still shaking after this eerie cinematic experience. The greenish water moving and oozing & looping as if made out of a ring of waterfalls forever falling down and flowing unto the valley of death. The first 'images' I saw were the ones I actually see 'inside' the moving water, as if they were pictures being developed by nature in a underwater tray, as if the river's water was rinsing them with... ▽