Parvaneh Navaï and the camera bring forth a ritualistic realm by erasing the bridge between the mundane and the forest. She is treated as a motif in the forest to honor the source of imagination with the help of a mirror, fire and salt. There is no escaping as the inside and outside agree for an intersection whose outcome is mysterious, divine and droning. The result is chaotic grandiloquence and the atmospheres is colourful complemented by the harsh avant-garde elements with misty textures and hypnotic chants. At times the dance is actually esoteric, bordering on the inhuman as the camera becomes one, only to accept a denouement that brings both as close as possible. The pre climax is stunning as the entity is in complete trance state ignoring the previous structures and yet merging into the world as it it accompanies, it relaxes, it creates like a cosmological union.
Most of the avant-garde audience will be aware of the Klonaris/Thomadaki duo and their otherworldly contribution in shaping this genre. But this film will surprise many as Maria Klonaris is solely credited as the writer, director and cinematographer. While, Katerina Thomadaki partly contributes to cinematography and sound design. Also, this film is part of a diptych restored portraits by the duo, along with "Chutes, desert, Syn (1985)."
To Summarise, cinema must provoke emotions and this is a perfect example. I don't recommend to those unfamiliar with the genre as it will get annoying and downright boring. I definitely recommend this to those who follow the avant-garde/experimental genre. I even suggest you to watch François Reichenbach's Nus masculins (1954), Alain Mazars's The Garden of Ages (1982), Mari Terashima's The First Love/Hatsukoi (1989), José Rodriguez-Soltero's Jerovi (1965), Myron Ort's Psychedelic Series (1968-1972), Teo Hernandez Maya (1979), Martine Rousset's Chants (1995), Gérard Courant's Adytia/Aditya (1980), Kenneth Anger's The Inauguration of the Pleasure Dome (1954), Amy Halpern's Invocation (1982), Camille Henrot's Grosse Fatigue (2013), Abbott Meader's Shiva Ree (1968), Pierre Clémenti's The Sun (1988), Chick Strand's Coming Up for Air (1986), Misao Arai's A Summer Storm (1973), Gregory J Markopoulos's Eros, O Basileus (1967), Ute Aurand's Bärbel und Charly (1994) and Wrik Mead's Homebelly (1994).
Most of the avant-garde audience will be aware of the Klonaris/Thomadaki duo and their otherworldly contribution in shaping this genre. But this film will surprise many as Maria Klonaris is solely credited as the writer, director and cinematographer. While, Katerina Thomadaki partly contributes to cinematography and sound design. Also, this film is part of a diptych restored portraits by the duo, along with "Chutes, desert, Syn (1985)."
To Summarise, cinema must provoke emotions and this is a perfect example. I don't recommend to those unfamiliar with the genre as it will get annoying and downright boring. I definitely recommend this to those who follow the avant-garde/experimental genre. I even suggest you to watch François Reichenbach's Nus masculins (1954), Alain Mazars's The Garden of Ages (1982), Mari Terashima's The First Love/Hatsukoi (1989), José Rodriguez-Soltero's Jerovi (1965), Myron Ort's Psychedelic Series (1968-1972), Teo Hernandez Maya (1979), Martine Rousset's Chants (1995), Gérard Courant's Adytia/Aditya (1980), Kenneth Anger's The Inauguration of the Pleasure Dome (1954), Amy Halpern's Invocation (1982), Camille Henrot's Grosse Fatigue (2013), Abbott Meader's Shiva Ree (1968), Pierre Clémenti's The Sun (1988), Chick Strand's Coming Up for Air (1986), Misao Arai's A Summer Storm (1973), Gregory J Markopoulos's Eros, O Basileus (1967), Ute Aurand's Bärbel und Charly (1994) and Wrik Mead's Homebelly (1994).
