Quote
Autobiography series.
“I think about Fragments de l’ange and the sequence with Françoise and Ermina in the countryside, I ask myself how to “justify” it in the whole film and I say to myself that the text could say: “The angel leads me to… “that is, the angel is all words, it is synonymous with language. The angel is the word in the unconscious state or rather it is the voice of the conscience, voice that determines our conduct, our demand in life. The angel is the shadow, the negative of the image, the other self of the image, the deep voice of the flesh; it is a thousand arrows embedded in the frame of reality. Arrow: seam, collure”.

(Notebook 10 page 43, translated by Xochitl Camblor-Macherel)
Teo Hernandez

Fragments de l'ange (Teo Hernandez, 1984).mkv

General
Container:  	Matroska
Runtime: 	18 min 18 s
Size: 	141 MiB
Video
Codec: 	h264
Resolution: 	640x360 
Aspect ratio:  	16:9
Frame rate: 	24.000 fps
Bit rate: 	982 kb/s
BPP: 	0.178
Audio
#1:  	French 2.0ch AAC LC @ 93.4 kb/s

https://nitro.download/view/C33FDAEF5ADD6E4/Fragments_de_l’ange_(Teo_Hernandez,_1984).mkv

Language(s):French
Subtitles:None

The post Teo Hernandez – Fragments de l’ange AKA Fragments of the angel (1984) first appeared on Cinema of the World.

Quote
According to Hernández, the banner of the Cannes Festival shows its three premises: glory, money and politics. He presented a film on that date and makes Citron pressé au Blue Bar as a critic and a newspaper at the same time.

If you film the banal, the naive and the superficial of the atmosphere in Cannes at that time, it is for nothing more than to rescue the beauty of the water of its sea.

Super-8 film transferred to digital video tape, colour, sound, 12’04”. Text written and spoken by Teo Hernandez

98.7MB | 12m 04s | 650×480 | mkv

https://nitro.download/view/1BA6271791A72CC/Citron_presse_au_Blue_Bar_(Teo_Hernandez,_1984).mkv

Language(s):French
Subtitles:None

The post Teo Hernandez – Citron pressé au Blue Bar (Souvenirs Cannes) AKA Squeezed lemon at the Blue Bar (Cannes Memories) (1984) first appeared on Cinema of the World.

Synopsis
Portrait of the filmmaker’s mother during her visit to Paris.

Review:-
Probably not the first and certainly not the last experimental 8mm-film about an elderly person at the threshold of life and death. But Hernándes’ unique sensibility for the relation between… well… matter and spirit and the way how the one reflects the other with the help of film makes this one special. In a way Sara is already part of the cemetery where the filmmaker meets her, her life is reflected in the place where she will come to rest, but the place also comes alive in her presence. This is why we see marble statues juxtaposed with her wrinkled face. The film maps this entanglement of life and death in a hyper precise and non-sentimental way. Review by Mephisdopeles

176MB | 14m 06s | 738×540 | mkv

https://nitro.download/view/AEC7615E3444D0D/Sara_(1981).mkv

Language(s):No linguistic content
Subtitles:Not Needed

The post Teo Hernandez – Sara (1981) first appeared on Cinema of the World.

The tetralogy pieces are dominated by the concept and presence of death, foreclosure, fetal vertigo. As such, CRISTAUX is a real descent into an inner labyrinth, which we do not know if it is organic or cultural. At the same time, the film contains a dialectical break that initiates other semantic directions in Hernandez’s work. Under the influence of Michel Nedjar, the filmmaker abandons his traditional method of editing based on rushes. The operation is now completed inside the camera, filming. This more flexible way of proceeding (“the camera must become a second eye”) is already reflected in the clear openings of Lacrima Christi: the Christian myth seems to be on the way to exorcising. The pantheistic intoxication – close to that evoked by Nietzsche – seizes places, objects and participants.
-Letterboxd

2.07GB | 1h 25m | 1280×800 | mkv

https://nitro.download/view/955AB3C603E6CB1/Cristaux(720p).mkv

Language:None
Subtitles:None)

The post Teo Hernandez – Cristaux (1978) first appeared on Cinema of the World.

IMDB:
A personal interpretation of Oscar Wilde Salome from three basic elements: the light, the color and the projection speed.

“Ce film n’est pas l’illustration d’un récit historique ou d’une pièce de théâtre mais il est structuré par sa dynamique propre et trois éléments basiques: la lumière, la couleur et la vitesse de projection. Par leur interaction il vise le regard du spectateur.
Le film propose un questionnement sur:
1) ce qu’il génère c’est-à-dire sa propre histoire;
2) l’imaginaire du spectateur et son regard;
3) le seul dehors questionné: le devenir de l’image qui est sa seule possibilité d’être. (…)
La musique utilisée n’illustre pas le film, mais elle propose un contrepoint à l’image et développe un parcours parallèle, parcours qui trouve par moments les points de suture, qui sont des cristallisations de chaînes de motivations provoquant et montrant la possibilité infinie d’interprétations d’une image.(…)”

953MB | 1h 5mn | 1280×720 | avi

https://nitroflare.com/view/A96A2A47BEAE553/SALOME.mkv

Language(s):No dialogue
Subtitles:None

The post Teo Hernandez – Salomé (1976) first appeared on Cinema of the World.