Cinema. Lois Patiño. Shady Mountain.


Lois Patiño. Shady Mountain. 2012 (14 min.) 

A contemplative look at the snowy mountain and the activity of the skiers on it.
The immensity of the space contrasts with how insignificant the people seem, almost invisible from a distance.

In contrast with the white snow, the film’s image becomes unreasonably darker and darker, transforming the view into something unreal, dreamlike and spectral. Its appearance also somewhat resembles the image of an artificially illuminated model, where the skiers are nothing more than dots in the distance, gliding in a hypnotic motion. The image flattens out at times, losing all depth, in search of the pictorially abstract.

This play on the perception of scale, where the immensity of the mountain becomes confused with the view through a microscope, continues to develop throughout the film. This treatment also allows the visualisation of the landscape to become tactile - emphasising the texture of the snow, blending with the scale of the space – allowing us to experience the image of the landscape as something tangible: a tactile vision.

But finally, the view we are shown is somehow identified with a possible view of the mountain from its summit, where men can be seen gliding down its slopes, like insects along an animal’s skin.

Alex Reynolds. This door, this window. 2017 (36 min). 

There are no doors or windows that block the passage of sound or, conversely, anything can serve as a door or a window.

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