Review of “Flowers of the Human Flesh” by Helena Whitman –

shapes and ornaments. The footage is chained in a poetic fashion, without an explicit narrative need. Exercise, observation and expression. Human flowers from the fly It is a kind of sampling of aesthetic possibilities, a film of a person with a precise eye for composition, who turns every image into an idea, almost a reflection. It will depend on each viewer, in more than one way, to turn those images into their own thoughts, because one of Helena Whitman’s subtle talents is not to load what she shows with meaning, but rather to let each viewer fill in those shots in their own style. Private world, private universe.

in a sense, human flowers… It is an action movie, about a group of people who travel with a destination unknown at first and little by little will be revealed. In a film with few dialogues and, for the most part, devoid of psychological constructs that give a dramatic “entity” to the film’s protagonists, the journey becomes an experience to be completed by the viewer. The movie could be a tribute to travelers, expeditions, the foreign legion, and BEAU TRAVAIL and Claire Dennis, but if someone sees it without any of those references, they can also enjoy the experience and get away with the elegant clarity of the images.

Hypnotic is a word that is used, often without justification, to refer to films like this one. In this case it is an appropriate term. boss the point, who came from cinematography, has a clear passion and interest for the sea, as he appeared in that movie. Here the water is also an essential part of the story and at some point even the only part, because in the movie sequence everything else, probably superfluous, will disappear, and we will only remain stuck in the depths of the sea.

The protagonist, nominally at least (the movie has a bit of dialogue and it’s less so), is Ida (Greek actress Angelique Papoulia), a woman who is part of an international group of adventurers? Who go to sea on a ship a seemingly uncertain destination. They come from different countries (you hear a lot of English with a Portuguese accent, there are also Germans and Algerians) and join this expedition that occupies a large part of the film. Whitman/Eda watches and listens to them, while they talk, read, or simply travel. And little by little, they unite with the sea, especially Ida, who loves to swim in the blue of the Mediterranean.

Travelers – It seems that she is the owner of the ship and they are a mixture of the Companions and crew– Leaving Marseille for Algeria he follows in the footsteps of the Foreign Legion and becomes interested in their stories, some of which are told. But that excuse would serve Whitman to create a kind of illustrated travel diary, an audiovisual record, in which the main subject passes through those images he takes through the camera and through the experiences—in and out of the water—that the enigmatic protagonist goes through.

This trip will have a destination – and a director more than important than one actor who connects this film to another – and eventually we will know more about the trip itself, but it will not have definitive meaning nor will it be seen as a goal that might be achieved. Just as for the protagonists, the experience for the viewer will be the journey itself, the feeling of sharing the look with Ida and with Whitman and with those men and women who go “to the sea” to witness the beauty of a world not yet destroyed, or at least not completely, of human hand.