This film is a sequence of visual associations of heaven and hell, shot by director and cinematographer Nadia Bedzhanova. Portrayed by the one and only Paz De La Huerta, the scenes explore the themes of transformation and migration – with changing faces, locations and beliefs.
This film seems to subvert the classical religious transformation, wherein an individual is redeemed by the presence of God. What led you to explore this kind of transformation?
In the age of insta-intimacy and the absence of privacy, we are always in a constant search for our identity, and proving that the identity we chose is the right one. In this film the protagonist is going through a metamorphosis from a god to ‘la hija de puta’: The Virgin and The Whore – the two identities that still make people uncomfortable, whether they are spectating or enacting them. Is it because everyone has thought of being a god themselves, at least once? Is it because we have moments of longing to be a fallen woman, rather than an angel? Both the visual language and verbal language in the film are completely subliminal. Even the first monologue is not clear: we tried to emphasise the visual allegories through the sound effects. We tried to play on the subconscious.
The style of this film is incredibly rich, almost like watching a painting in motion. How did you achieve the composition that you wanted?
I shot this film on digital and Super 8 cameras, partially in Detroit, Michigan. The whole experience of filming was very personal. Paz has an incredible charm and energy that you can actually physically feel. We were listening to Schubert, trying different characters. We were crying, we were screaming, we were going through an empirical adventure.
Responses by Nadia Bedzhanova.