MOUNTAIN IN SHADOW (14', Spain, 2012)

Screening: Fr, 13 Dec., Studio Cinema, 9:00pm

A contemplative experience, the spellbinding MOUNTAIN IN SHADOW offers a poetic view on the relationship between the immensity of the landscape and the insignificance of the human being, through a hypnotic ballet of night-time skiers on a snowy slope. Starting from the white of the snow, the image turns increasingly darker and more stylized, almost black-and-white, as LOIS PATIÑO gradually shifts from mere representation of the mountain to a fascinating display of spectral, dreamlike spaces, transporting the viewer from the physical level to a metaphysical one. Treating the landscape as a tactile experience, by emphasizing texture and undermining spatial relations and materiality, the director creates a visually breath-taking choreography of the sublime.



Screenplay: Lois Patiño

Cinematography: Lois Patiño

Editing: Lois Patiño

Sound: Miguel Calvo "Maiki", Erik T. Jensen

Producer: Lois Patiño


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LOIS PATIÑO (b. 1983, Spain) combined his Psychology studies with cinema studies at TAI School and New York Film Academy. He attended video creation courses under the guidance of Katherin Sieverding in the UdK of Berlin, and different workshops with artist and filmmakers such as Pedro Costa, José Luis Guerín or Daniel Canogar. Patiño’s works have been shown in art centres such as Centre Pompidou or Haus der Kulturen der Welt, and in international festivals such as Locarno, BAFICI, Oberhausen, Roma or Vila do Conde. At the 66th edition of the Locarno Film Festival he received the prize for the best emerging director with his first feature COSTA DA MORTE.



Prize of the Jury of the Ministry for Family, Children Youth, Culture and Sport of North Rhine-Westphalia – Oberhausen International Short Film Festival 2013

Honorary Mention – FIDOCS Chile 2013

San Sebastián Film Festival 2013

BAFICI Argentina 2013

São Paulo Film Festival 2013

Curtas Vila do Conde Film Festival 2013*

Rome International Film Festival 2012


“The idea is the relationship of immensity/insignificance between man and the landscape. This play with the perception of the scales, where the vastness of the mountain ends mixing with the vision of a microscope, will go forward with the development of the film. This treatment also allows the spectator to view the landscape as a tactile experience: emphasizing the snow’s texture and confusing its matter and the spatial dimensions, the viewer experiences the landscape’s image as something tangible, a tactile vision. The film adopts the point of view of the mountain: a slow, distant, uninvolved observation. Starting from the white snow, the image of the film becomes increasingly darker, transforming the space into something unreal, dreamlike and spectral. This makes its appearance more like that of an artificially illuminated scale-model, where skiers are merely points in the distance, sliding in a hypnotic movement. Flattening the image turns it into a vertical canvas, where patches of light and shadow paint the fabric in a balance between figuration and abstraction. The telephoto lens allowed me to remove the depth of the space, and the dark contrast transforms the space into something unreal - a ghostly space with moving spectral figures.” (LOIS PATIÑO)

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