When checking for details about the films on at the WOW Film Festival,I was intrigued by the report from Variety about this title mixing harsh reality with fantasy, which led to me getting ready to witness it from the sky.
View on the film:
Bellowing from the Heavens, composer Galo Duran descends co-editor/(with Yibran Asuad & Leon Felipe Gonzalez) co-cinematographer /(with Mateo Guzman)writer/directing auteur Joshua Gil crane shot from surreal Heaven to the warfare on Earth,with a magnificent Shoegaze score.
Duran's score brings out a strikingly heightened surrealism to the Fantasy sequences, grinding down to a lone,echoing shudder across the war-torn land.
Taking over a year to build the sound design with sound designer/supervising sound editor Sergio Diaz, Gil continues his examinations of the violence from the drug-trade in Mexico, with an enchanting, earthy Magical Realism, via long tracking shots following a box go deep into the dark woods to ask the sky, the wind and the water to bring his mum back, which Gil answers with a lightning bolt of primary colour across the screen,as nature answers the calls.
Made mostly in the indigenous language of Mije with non-professional actors in Oaxaca and Bolivia's Salar de Uyuni salt flats, Gil weaves the sparks of the fantastical with the stark reality of violence on the ground, holding back from lapping up the gore,to instead hold on stilted wide-shots gazing down from the Heavens of nature at the flashes of gunfire being ignited on Earth.
View on the film:
Bellowing from the Heavens, composer Galo Duran descends co-editor/(with Yibran Asuad & Leon Felipe Gonzalez) co-cinematographer /(with Mateo Guzman)writer/directing auteur Joshua Gil crane shot from surreal Heaven to the warfare on Earth,with a magnificent Shoegaze score.
Duran's score brings out a strikingly heightened surrealism to the Fantasy sequences, grinding down to a lone,echoing shudder across the war-torn land.
Taking over a year to build the sound design with sound designer/supervising sound editor Sergio Diaz, Gil continues his examinations of the violence from the drug-trade in Mexico, with an enchanting, earthy Magical Realism, via long tracking shots following a box go deep into the dark woods to ask the sky, the wind and the water to bring his mum back, which Gil answers with a lightning bolt of primary colour across the screen,as nature answers the calls.
Made mostly in the indigenous language of Mije with non-professional actors in Oaxaca and Bolivia's Salar de Uyuni salt flats, Gil weaves the sparks of the fantastical with the stark reality of violence on the ground, holding back from lapping up the gore,to instead hold on stilted wide-shots gazing down from the Heavens of nature at the flashes of gunfire being ignited on Earth.
