As Without so Within Screen 7 articles

As Without so Within

2016

As Without so Within Poster
  • The film, ultimately, is a single-idea exercise, not as perceptually rich as the artist's earlier film Sun. But it is certainly interesting to see these movie mock-ups getting a starring role for a change.

  • An utterly remarkably, vividly calm work, it blends sculpture and filmmaking into a cosmic exploration of physical material transformed by the flatness of the cinema screen. Using ingenious objects made by De Laborde that variously resemble moon rocks, bones, and additional unidentifiable shapes, and by filming them against black backgrounds, awash in precise lighting and at different scales, these strange pieces loom or are dwarfed, come into or go out of focus and perceptibility.

  • There is a transfixing power to the increasingly dense sculptural superimpositions of As Without So Within.

  • After the screening of AS WITHOUT SO WITHIN, Manuela De Laborde said that making the film was for her like “returning to Montessori.” I almost applauded because one of the chief pleasures of the film – it was for me not only the highlight of Wavelengths but of all new cinema in 2016 – is its pedagogical form. By that I mean it reveals, reworks and illuminates the essential components of the modes in which she’s working.

  • De Laborde’s film manages to manufacture something rapturous despite an amorphous body that privileges indeterminacy. It is perfectly content with being about nothing other than the 25 minutes in which it is present in front of an audience of spectators—all of them encouraged to look, listen, and be comfortably uncertain about everything they’re thinking or think they ought to be thinking.

  • Sculpture and cinema dovetail to disorienting effect in this breakthrough work by the young, Mexico City-born artist Manuela De Laborde. Comprised of silent, color-saturated shots of a variety of small props and objects superimposed in depth-defying displays of dramaturgical ingenuity, the film’s perspective shifts from extreme closeups of these oblong, handcrafted models to distanced angles revealing the artist’s studio-bound setup.

  • Nothing seems familiar, everything is strange; but everything feels vaguely important, somehow, as if things once vital are now forgotten. A mysterious film that is both beautiful and haunting.

More Links