Mark Krotov at n+1:
Dry Leaf is concerned above all with the materiality of the camera—what it captures as it meanders off, and what it fails to detect. To paraphrase the title of Koberidze’s previous feature, what do we see when we look at (or through) the Sony Ericsson?
We see graininess, fuzziness, pixelation. We see shapes over details, colors over textures. In the absence of immediately legible images, details and textures don’t disappear, however—as Dry Leaf’s unclarity clarifies, they proliferate. A car driving down a road becomes a source of visual drama not because we wonder if it’ll have trouble traveling from one side of the frame to the other, but because its wheels may suddenly start to resemble spinning plates. A shot of a pond doesn’t need a swimmer or a fish to generate excitement—what’s thrilling is the moment when the image congeals and the pond acquires a thick, black border, a failure to process contrast that nevertheless reads as a real-life Cezanne landscape taking shape before our eyes. A white curtain in the breeze twitches when it should be billowing, and a newspaper being blown around a soccer stadium looks somehow heavier than it really is, flopping around the stands with an odd decisiveness.
more here.
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