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Movie Review  (1:1)
By Ángel Jesús Hurtado Palencia


This audiovisual experience is a joy for the spirit, a sensory event. The senses are provoked, especially the vision, also your hearing is forced to accept this very slow reality, and you enter a world of trance where you fight with yourself. A struggle to go beyond the moving image, a struggle to understand an intimate proposal, a struggle against the ego of the artist but mainly a struggle against the narrative ghosts that always want to contaminate the essence of experimental art. This film is a constant investigation that opens the door to imaginative free will, but never fails to expose its cultural value.

The film seems to contain strange glances, distant glances that are possibly part of a dream, forgotten memories of men of the sea, and memories that are related in a disorderly way, giving way to a surrealist imagination. The implementation of the "stereoscopic" effect proposes a greater immersion, giving more information and spectacle to the public. The way water becomes a protagonist of the film is brilliant, thanks to its movement it demonstrates the true traveling nature of this film.

Napoleón 1927 - Abel Gance

we need entertainment at all costs, no matter the time or place, the only thing we cry out for is entertainment, avoiding any moment of self-criticism, even when we are alone. In this work there is no banal entertainment, in this journey we contemplate a relaxing, peaceful, and pure look. A film that by its simple existence generates deep admiration. No matter how distant you are from experimental cinema, you will always be able to identify a real exponent of that genre just by watching it for a few seconds, and in "1:1" the message is direct, we are in front of a real experimental film. The audiovisual realization walks daily in the imagination of the majority, but the common man will never be able to offer a reward sufficiently proportional to the cinematographic art that has nurtured him so much. Human beings’ day by day get annoyed at receiving messages within films or try to avoid the critical nature of cinema, but the hope for a more conscious public of its existence is never lost, and experimental cinema attests to that quest.

The word poem is recurrent in my writings on experimental cinema and the fact is that poetry treats words with an intense affection, a special treatment where words are beautifully intertwined in search of total harmony, but it is natural that such elaboration is to everyone's taste. Art extends to the emptiest corners of existence, art has multiple layers, flavors, colors and subjects, is art the final key that opens the final door of creativity. The door that Telemach Wiesinger opens shows a completely experimental world, the images he presents are intertwined portals that very slowly develop European dream postcards, everything seems to be frozen in the world of infatuation, and it is not a visual infatuation, nor a sound romance, it is a platonic love between the movement and the viewer.

A masterpiece of lost time and twin images that collide to form a passive yet soothing panorama. The split screen gives a magical touch to the film, and the illusion of separation for moments generates a conversation between the shots. We are appreciating a brilliant work like the lighthouse that lives in the wild nights of sea winds. The film could go unnoticed in the great ocean of universal cinema, but within the experimental Telemach's work can find a respectable space, the admiration towards this work I saw in its self-love, this work does not seem to have any commercial ambition, its only real ambition is to exist as art and die as a slow and romantic experience.

A black and white film, which is also 16 mm seems to be the recipe of an old formula already discontinued, in the face of the aggressive onslaught of digital, the need for Telemach Wiesinger's art is indisputable, we need in these times more quality experimental works, works that keep the bonfire of creativity burning without limits.

Screenshot 2024-04-13 at 19-52-17 Telemach WIESINGER.png
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