In the opening sequence of Juan Pablo González's second feature, Dos Estaciones, DP Gerardo Guerra’s Steadicam roves a tequila farm’s fields as workers chop down agave plants; when they pause for lunch, the camera pans equally slowly, seemingly without planning, to bring whoever's speaking into frame. In these opening moments, Dos Estaciones could be any one of a number of post-Lisandro Alonso films composed of tracking shots, slow pans and nonprofessional performances by Latin American lab...
Sundance 2022 Critic's Notebook: Dos Estaciones, Meet Me in the Bathroom
Filmmaker Magazine - 24 Jan 2022 22:45
In the opening sequence of Juan Pablo González's second feature, Dos Estaciones, DP Gerardo Guerra’s Steadicam roves a tequila farm’s fields as workers chop down agave plants; when they pause for lunch, the camera pans equally slowly, seemingly without planning, to bring whoever's speaking into frame. In these opening moments, Dos Estaciones could be any one of a number of post-Lisandro Alonso films composed of tracking shots, slow pans and nonprofessional performances by Latin American lab...
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