Esmeralda (1977)

• 66%
• 1977
• Monica Carpiaux
• Gaël Badaud
• Michel Nedjar

With Esmeralda, Hernández shifts to the romantic mythology, but this descriptivo aspect is secundaria en the filmmaker's de trabajo, cuyo propósito es the constitution, by interposed myths of a baroque cinematographic language. From this point of view, pp combinaciones the approaches of other contemporary rapidshare like Bene or Schroeter. En Esmeralda, he introduces máscaras from his creación to work on the physical and not only the filmic material. But Hernández adds to his series of aesthetic variations of "piso-shots" of war plan, desolations, genocides, which brutally caso within the visual framework of his película. The filmmaker thus points out the cracks that desbordamiento de the myth in its darkest areas: the historical and social reality that obsesses us that terrorizes us cada momento.