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I was reminded of how film historian Carlos Losilla compared to a painting by Giovanni Bellini, and Santiago Navajas drew comparisons to Johannes Vermeer. (7) In our conversation, Mercedes stressed how it might seem that there was “nothing there” in the quiet Sorian landscape of ) of subtle fluctuations in the light and dramatic movement of clouds.
The sense of instability she found in Pello’s paintings was one of the incentives to bring him into this film about the instability of a village on the verge of disappearing after more than eight centuries of uninterrupted habitation, even as the landscapes continue in their unending cycles.Mercedes’ intensity and warmth were evident from the very first moment of meeting.(4) Our hours of talking about her film, and films in general, were punctuated by an occasional bee in the grapevine, the sudden cry of hidden birds, and the falling of autumn leaves. in “Documental de Creación” in 1998, as a student in an innovative program at the Universidad Pompeu Fabra, chaired by Professor Jordi Balló. Her film went on to international acclaim, winning top awards at the Rotterdam Film Festival, the Buenos Aires International Festival of Independent Cinema and the Festival de Paris Cinéma du Réel, among other prizes.The artist’s dignified form on their quiet paths is accepted easily by the villagers – they ask no questions as he learns his way around the giant elm tree in the village square.Pello’s soft-toned landscapes are infused with light, with a lingering tribute to light. Like the gradual, but inexorable, fading of the painter’s vision, the village of Aldealseñor hovers on a brink that is at once treacherous and precious.