The tetralogy pieces are dominated by the concept and presence of death, foreclosure, fetal vertigo. As such, CRISTAUX is a real descent into an inner labyrinth, which we do not know if it is organic or cultural. At the same time, the film contains a dialectical break that initiates other semantic directions in Hernandez’s work. Under the influence of Michel NEDJAR, the filmmaker abandons his traditional method of editing based on rushes. The operation is now completed inside the camera, filming. This more flexible way of proceeding (“the camera must become a second eye”) is already reflected in the clear openings of Lacrima Christi: the Christian myth seems to be on the way to exorcising. The pantheistic intoxication - close to that evoked by Nietzsche - seizes places, objects and participants.

Teo Hernandez films the water of the Seine and its reflections for a film at once material and luminous.

Touching testimony of Teo Hernandez's return to his country after fifteen years of exile.

Film shot on the edge of a river whose soundtrack is a text in French and in English said and written by Teo Hernández.

Filmmaker’s diary during his visit to the southern region of France.

Outtakes from Maya

Magical Super-8 (shown on 16mm) single frame portrait of the Notre Dame cathedral featuring luminous light and a dense score incorporating players from the square.

Rodado en 1988 con motivo de las fiestas en casa de Marie-Noëlle Delorme. Filmada con cámara en mano a pequeñas ráfagas de fotogramas y casi imagen por imagen, pero luego ralentizada.