Lois Patiño
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Pregnant Pauses: Matías Piñeiro on Isabella
Matías Piñeiro’s sixth feature and seventh Shakespeare-related film, Isabella, begins with purely abstract images whose use here is new in his work: four different shades on the blue spectrum, alternately lighter and darker in smaller and smaller concentric rectangles. The smallest, central rectangle fades to purple before three different shades of that color pulsate outward to the largest rectangle. The rectangles then dissolve into one unified purple that fills the rectangular frame containing the film itself, which starts gently pulsating in different shades under silent opening titles. These abstract color studies (whose resemblance to the work of James Turrell was […]
by Vadim Rizov on Jul 12, 2021 -
Night Vision: Some Questions Posed by Lois Patiño’s Negative Image Night Without Distance
One of the best films I saw during this year’s NYFF cost nothing to access. Paired with Calum Walter’s (very strong) Terrestrial as part of a free program running on a loop for a day during the Projections weekend, Lois Patiño’s Night Without Distance is a hypnotic 21-minute experiment that immediately gets your attention for a very simple reason: all the images have been negative reversed, creating a whole new patina for what could otherwise be an overfamiliar landscape. The festival film world has seen a surplus of post-Apichatpong forest reveries, to which Night Without Distance restores a sense of mystery: the grass is purple, […]
by Vadim Rizov on Nov 3, 2015
