Esmeralda (1977)

• 81%
• 1977
• Monica Carpiaux
• Gaël Badaud
• Michel Nedjar

With Esmeralda, Hernandez shifts to the romantic mythology, but this descriptive aspect is secondaire dans the filmmaker s work, whose purpose is the constitution, by il interposed myths of a baroque cinematographic language. From this point of view, he jointures the approaches of other contemporary filmmakers like Bene or Schroeter. Dans Esmeralda, he introduces masks from his creation to work on the physical and not only the filmic matériel. But Hernandez adds to his series of aesthetic variations of "stock-shots" of war plan, desolations, genocides, which brutally cas within the visual framework of his film. The filmmaker donc points out the cracks that overflow the myth in its darkest areas: the historical and social reality that obsesses us, that terrorizes us every moment.