Trajes y ropajes
2025 · 3m · España
Directed by Lucía Harari
Genres: essay film, experimental
Tones: contemplative, surreal, tender
A human-animal figure moves with and is crossed by its bond with a recently dead bird, in a wordless minimal choreography about empathy between species.
Picked by Margot
The scouts
It's basically a grief ritual disguised as movement study—which sounds pretentious until you realize Harari's actually deranged enough to make it work, treating a dead bird with the formal weight most filmmakers reserve for human tragedy.
Harari situates herself in a lineage of embodied essay cinema—the lineage of Deren, of Brakhage—but what arrests here is the restraint: how little choreography she permits herself, how the frame itself becomes the mourning body, holding space for a species boundary that never gets collapsed into sentiment.
The singular choice is the stillness of the bird itself—not animating it, not making it symbolic, but letting it remain obstinately, photographically dead while the human figure moves around it; that refusal to metaphorize is what gives the empathy its weight.