Esmeralda

With Esmeralda Hernandez shifts to the romantic mythology but this descriptive aspect is secondary in the filmmakers work whose purpose is the constitution by interposed myths of a baroque cinematographic language From this point of view he joins the approaches of other contemporary filmmakers like Bene or Schroeter In Esmeralda he introduces masks from his creation to work on the physical and not only the filmic material But Hernandez adds to his series of aesthetic variations of stockshots of war plans desolations genocides which brutally fall within the visual framework of his film The filmmaker thus 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