Sleep Has Her House

The lie of Romanticism and the truth of cinema - that could be the paraphrase of the famous book: this film is not about nature without humans, but about the human to whom nature becomes a metaphor of itself. The film, with its arsenal of illusions, which it composes for its human observer, creates effects in nature that are impossible, creating for the viewer a machine for self-projection into things, and it is precisely this self-projection into everything the person sees that is mistaken for the evacuation of his own self from the image. Barley does not depict a Cosmos abandoned by man, but as a genius of Romanticism, who escapes from human swarming into the monstrously beautiful and lonely majesty of mountain giants, using this loneliness only to solidify himself and his self. The multiple exposures with which the author manipulates the image serve the same effect as when Antonín Mánes portrays Queen Anna's pavilion on a protruding rock above the lake, or when all the Friedrichs, or John Martin, create dreamy and unreal landscapes. I will be great according to what I contemplate; the storm and stress of my spirit in the digital storm; the anthropomorphization of the forest by an individual who tries to escape from the forest of human figures of society into forests without humans, blissfully forgetting that the horses he pursues with his liberated spirit and incarnated eye are running away from the shadows of screams... as you call into the forest, so it echoes back. (31.05.2020)