Alguien ha entrado en la memoria blanca, en la inmovilidad del corazón. 

Veo una luz debajo de la niebla y la dulzura del error me hace cerrar los ojos. 

En la ebriedad de la melancolía; como acercar el rostro a una rosa enferma, indecisa entre el perfume y la muerte.


Foto: Pierre Jahan, L'herbier surréaliste (1945-1947) © Pierre Jahan/Roger Viollet. Courtesy Galerie Michèle Chomette



Dir: Marcel L'Herbier

France, 100m



An ethereal creature from a dream like only L'Herbier knew how to make at the time, painted with light and shadow. Elegant with motions, like a calligrapher’s hand drawing from the beauty of enlightened heart. The man was one of the first visual masters of the medium.

Yet a visual prowess, and this is what’s so important for me, that understands the double perspective that gives shape and size to life around us, with the ability to restore it back in its proper dimensions. There, from outside the cabaret stage, the woman performing on stage for an indifferent world of organized cruelties, itself operating from behind the norm of social appearances. Here behind the stage, more pertinently for us, closer, the distraught mother tending to her sick child. Seeking absolutions, prostrating herself.

From our end we get to reconcile both, how the woman funnels profound sadness into public performance.

There is a painter involved, looking to capture evanescent beauty. At first it flees from him in the maze of Islamic architecture, but soon he finds it. As it turns out, love dawns on him from painting.

Eventually she has to let go a part of her heart to be mended again, and return to the mixed blessing of that stage where suffering can be sublimated into dance.

It is a small film but precious. It’s recommended you seek it out.