Ayers Rock is examined in the light of its ancient human and animal associations. It is seen under various light effects which create different colour and texture impressions. The timelessness of the monolith is suggested by negative colour, the result of using fine-grain Eastmancolour print stock in the camera, a slow speed material which required the intense Central Australian light for adequate exposure. A half-speed recording of the local bird call and insects contributes to the sense of cross eras. Human perception of time, colour and sound is questioned. As Einstein said: 'The distinction between past, present and future is only an illusion, even if a stubborn one.'
Shot mostly at Uluru, the rock in the heart of Australia. The extreme heat damaged the emulsion of the film which is subsequently incised by the filmmaker.
As the camera moves gently from afar into the very heart of the monolith, the magic of the holiest site of the Aborigines unfolds in shimmering nuances of light.
How does a country go from a dictatorship to a democracy? A detailed report on the political representation in the heart of the Spanish Transition, only a few months after General Franco’s death, when the sincere democratic vocation of Spanish people must effort to destroy, one heavy brick after another, the wall that those who supported the dictatorship and those who fought it from the exile built with resentment, hatred and prejudices.
Don Diego goes to war and his son Don Gonzalo is, in his absence, the new lord of the region. The milling Elvira, one of the mistresses of Don Diego, has a beautiful daughter, Elena, who has the desire of Don Gonzalo.
Babae...Ngayon at Kailanman is a film adaptation of three Filipino short story masterpieces: Nick Joaquin's "May Day Eve", Amador Daguio's "Wedding Dance" and Wilfrido Nollega's "Juego de Prenda.
