If we were to see one day that some sort of poetry-documentary genre had become the mainstream, we would have to search in Silences and Hands for its main precedent. Director Hernán Khourian makes a portrait of Telma Palavecino, a mystical old lady whose figure captivates us a few minutes into the film. Khourian observes her attentively as she does several things –she recites poetry, explains issues about her singular belief, tells anecdotes, or simply walks around at home. The intention appears to be getting to know Telma without consuming her secret, and always respect her mystery. Her chapped face quickly becomes a landscape that invites us to observe –the more the camera frames her, the more unfathomable she seems to be. The director adds a feel of audiovisual estrangement to the trance her words try to lead us into, like at some point when the camera zooms in and out of a fan as if entering a different universe and then returning with some weird news. DM
D, G, F, E, DA, P: Hernán Khourian
S: Guido Ronconi, Hernán Khourian
T +54 9 221 504 1797
Born in La Plata in 1972, he studied Filmmaking at the UNLP and the Pompeu Fabra University in Barcelona, Spain. Áreas (2000), Las sábanas de Norberto (2003), Puna (2006), Esplín o errar o sin embargo (2007), Los pernoctantes (2008) and Memoria (2010) are some of his works. He’s a teacher at the UNLP, the UNTREF and Unive...