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Narcisa Hirschto top

Lonely Patagonic sunsets and crowded urban happenings; dolls and apples; minimalism and excess; structural films and documentary records… One could keep inventing pairs that define the whole range of Narcisa Hirsch’s films and her intimate sensitivity that works as an antenna for different states of poetic transformation of cinema. They’re different conjunctions that create universes that could have been opposed, but instead coexist united by the view that involves them. A sort of connective link that contains a fluctuating aesthetic range, Hirsch’s film perspective is a way of persisting on creative freedom through a cinema that has differentiated itself from any sort of industrial logic while building a parallel track that goes independent from fashionable artistic parameters and the need of being legitimated. Hirsch’s cinema grew on the margins, but it remained connected to the world and its time, and searched for alternative beauty in order to live beyond the limits of the times her caméra-stylo experienced.
Read the full story in the Festival catalogue.
Diego Trerotola


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