Three memories – that of the Innu, the Jesuit, and Lamothe – juxtapose without contradicting each other, define without harming each other, evaluate without diminishing each other. In this feature-length film, Arthur Lamothe captures the daily life of the Innu and the culture of an indigenous people gradually being decimated.
In the fall of 1990, Antonio López García decides to paint the quince tree planted in the middle of the garden of his Madrid home. The artist carefully prepares his materials, outlines the perspective of the upcoming painting, and positions himself in front of the tree. Thus begins a one-on-one encounter between the painter and his "subject." The constant visits from onlookers disrupt his tranq...
Three memories – that of the Innu, the Jesuit, and Lamothe – juxtapose without contradicting each other, define without harming each other, evaluate without diminishing each other. In this feature-length film, Arthur Lamothe captures the daily life of the Innu and the culture of an indigenous people gradually being decimated.
In the fall of 1990, Antonio López García decides to paint the quince tree planted in the middle of the garden of his Madrid home. The artist carefully prepares his materials, outlines the perspective of the upcoming painting, and positions himself in front of the tree. Thus begins a one-on-one encounter between the painter and his "subject." The constant visits from onlookers disrupt his tranq...