Norman McLaren

film 15 of 24


Film Review by Dean Duncan May 8, 2015

The watercolour backgrounds make the basically mathematical/geometrical subject somehow human, and the butterfly at the end of each of the three sections functions like McLaren himself did in 1965’s Mosaic. J.S. Bach’s music certainly humanizes as well. The last section becomes an awesome exploration of the possibilities, the multiplicities of perspective. Which, given the uses to which it has been put to so long in figurative painting, and in the way that we interact with each other, becomes the most humanizing thing of all.