Nordman seems to have paid delicate attention to grasping the idea about the unique possibility with nature and the immensity it is bound to substantiate the contemplative instinct of its watcher.
In the mode of art detailed via the aforementioned pieces, one emerges to recognize the fluidity in the elements of smoke and the projected sight and sound of the surging beach water. Already there comes for a viewer the response to possess the moment of naturally and constantly blending into the scene. If a music were to exude out of the show, then it would be to hear a fusion of jazz and rhythm and blues with alternative melodies playing under the conceptualized mood of dynamism and stillness. A sense of elegance is fashionably rendered in the simplicity of the acts and materials used to evoke the film’s romantic objective.
It is entirely up to the audience how thoughtful imaginings ought to depict any mystery in or characterize the prospective lovers. Having felt the intellectual side of the artist in directing the individual attitude of the man and the woman, such creation may be claimed to have attained a distinct level of mature sensibility which is capable of sending the viewers adrift from their typical perspective of romance or affectionate yearning. Enhancing her creative design as Nordman puts it: “The Pacific ocean and the sun are also actors in the scene.”
As a whole, Maria Nordman does live up to her identity with permanent transience in this exhibit that the manner it takes the interpreter appears more of by acquiring familiarity with a passion for something yet unknown. Her style commences a postmodernist approach with filming that has quite the potential of adjusting sentimental or psychological reactions. Being one that is perceived with optimum use of space, the Filmroom presentation might strike the heart with smoky impression of varying meanings yet even further to that, it is certain to find the inevitable poetic reflections dissolve in