Gonzalo Castro, who was already present at the FID in 2010 with
Invernadero, a portrait of the Mexican writer Mario Bellatin, is back in his
element. Because the film veers between the rehearsals for a dance show
on the one hand and, on the other hand, the daily life of two young women
involved in this future choreography. Intended to be close – hrough the
tension of the bodies – to the quasi-immobility of a diorama, as indicated
by the title (meaning the static three-dimensional representations familiar
from Natural History museums), the rehearsals are intended to absorb the
dynamic of the physical movements in apotheosis. It is understandable, it
is a matter of relating two types of momentum. The constructed and
reserved one of art and the dispersed, diffused, serene one of love, which is
just as glorious.
Here there is an issue of cinematic writing, which does not depend on
narrative recipes, psychologism or any simplicities about covering shows.
At the same time, in this conjugation of choreographies, the film itself
attempts to escape to a zone of origin and innocence that is possible in
cinema. (JPR)