Abstrakt: | Th e author performs an analysis of Innocence and Evolution – the films of Lucile Hadžihalilović,
which she proposes to treat as a diptych due to similarities in the thematic
layer and plot, as well as signifi cant parallels in the construction of presented worlds. The ambiguous morphology of the surroundings and meaningful landscape shots are viewed
in two dimensions: on the one hand, as references to the structure of myth, fairytale and
utopia; on the other hand, as elements of the depiction of nature. Besides forest, sea or
underwater landscapes, this way of depiction includes, among others, poetic pictures
of atmospheric phenomena and observations of vegetation and animal life, which are
endowed with symbolic meaning. Among her sources of the depiction of nature, the
author indicates documentary fi lms of Jean Painlevé and the fascination with an element
of water present in the works of surrealists. Moreover, Lucile Hadžihalilović approaches
the aquatic imagination as a manifestation of underwater optics, which performs a symbolic
function. |