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Son of the White Mare 1981
There is something eternally sentimental about the idea of something omniponent, an infinite beauty, that inevitably confronts human existence. The style of the film feels grounded in folk embroidery, often practised in a rotating symmetry, where shapes appear to the same extent as they are coloured. It contributes to this feeling of an infinite beauty, where no entity is isolated and all energy is balanced. Form, colour, and power are together and the same.
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