suggested by me
- CarmelA different style of music from the ones I've heard him use so far, which was a welcome change as here it works very evocatively. We begin with superposition of two images: one is always directed downwards, to the plants, earth, cells, water droplets, faint reflections, ephemeral instincts and smallest particles; the other is directed upwards to the extensive branches of the trees, the infinity of the sky, a city in a distance and trenchancy of super-structures like the Sun. Gradually the two merge, alongside a disruption of the uplifting music, into more ecstatic, fundamental, abstract and chaotic immanence. Now here's a simple idea put into practice, delivering wonderful results due to Clipson's acute sensitivity and his vision of a love's refrain. Must be my favourite, and most fleeting of his so far.
"Cool, this certainly is also a candidate for my favorite Clipson now. The music having a beat definitely also made a difference to me, and when the beat stops towards the end the music turns into a crescendo, but I was more struck by the anamorphic widescreen, it's the first film of his in this format, as far as I know. I actually wouldn't have been surprised to learn that it was shot digitally, that this was shot on 16mm is kind of amazing to me. I think it's still very Clipson, but feels a little different to the other films I have seen of his, and I was pretty taken by it as an experience. In terms of interpretations I think my thoughts were along the lines of the film finding a whole universe within the minuscule. It goes in pretty close on plants and insects, but not super close either. Superimposed are those much wider shots of the sky and sun, which to me implied the molecule level of those plants. Sort of like the two halves of 'Powers of Ten' superimposed over each other. And in the second half the film kind of loses itself within this molecular universe to take a trippy journey through it."