Beyond the Veil: Teo Hernández Uncovered

The Super-8 camera is light like a feather. In order to employ it well, the filmmaker should be light as a feather. To watch a film like Nuestra Señora de Paris or L’Eau de la Seine, both made around the time of this 1983 diary entry, is to witness a succinct encapsulation of Teo Hernández’s embodied approach to filmmaking; a dance between camera, light, and object, each is a portrait of an iconic Parisian landmark — Notre Dame Cathedral and the...