One of three great shorts Nathaniel Dorsky shot in 2010, typical of his mature style, it's silent, and has no traditional narrative or actors, belonging to his cinema of meditation and having definite moments of spirituality. Aubade is a farewell and this is a farewell to Kodachrome, his film stock of choice, which stopped production at around the time of shooting this film.
The first shot is perhaps the most exquisite, crinkles of light, coins flashing in the dark, shaped like crenated corpuscles, white and yellow light shivering out. A pair of the entities flicker together, rare soul mates.
There's a liana strewn impossible forest that is probably a close up of a display in a botanic garden, but it looks quite otherworldly, the main effect that Dorsky tries to achieve.
A clutch of pearlescent yellow and white eggs hang over a network of barred lozenges. A globular glass vase with a single red rose looks out onto a corner apartment, the view forks away down dual perspective lines.
A beautiful red network. A prettily-clothed woman thumbing through a rack of clothes, spilling colour palette.
Typical foreground background Dorsky shot of flowers, this time the foreground admits more of the background, in a more upbeat film.
The first shot is perhaps the most exquisite, crinkles of light, coins flashing in the dark, shaped like crenated corpuscles, white and yellow light shivering out. A pair of the entities flicker together, rare soul mates.
There's a liana strewn impossible forest that is probably a close up of a display in a botanic garden, but it looks quite otherworldly, the main effect that Dorsky tries to achieve.
A clutch of pearlescent yellow and white eggs hang over a network of barred lozenges. A globular glass vase with a single red rose looks out onto a corner apartment, the view forks away down dual perspective lines.
A beautiful red network. A prettily-clothed woman thumbing through a rack of clothes, spilling colour palette.
Typical foreground background Dorsky shot of flowers, this time the foreground admits more of the background, in a more upbeat film.
