Their sensors are trained on the far reaches of outer space, where a vaporous nebula has been found containing 120 million times the water in Earth’s oceans.
In his clear-eyed vision of the universe, oceanographers and anthropologists corroborate the intuitions of poet s and astrophysicists lurk behind Chile’s giant telescopes, rotating in synchrony in the Atacama desert like robotic sunflowers. More Media Megadeals in 2024? Top Accounting Firm Thinks It's a Good Betīut new things are happening here that could refrain the niche success of the earlier film, and certainly audiences once bitten by Guzman’s infectious intelligence will want to come back for more. It would be very much in the spirit of a director whose reputation rests on a monumental documentary trilogy of the Seventies, The Battle of Chile. In place of the archaeology of the Chilean desert, Guzman takes water as his motif this time round, opening up the possibility of other elements to come. For many admirers, The Pearl Button ( El Botón De Nácar) will seem too similar a film, one whose dazzlingly insights have already been made. It’s hard to follow up on such a uniquely resonant film as Patricio Guzman’s Nostalgia for the Light, which broke into art house release in 2010 to mesmerize audiences with its awe-struck juxtaposition of the greatness of the cosmos and the smallness and cruelty of human beings toward their own kind.
