By Mónica Delgado

The first session of Canadian filmmaker Phillip Hoffman at (S8) Mostra de Cinema Periférico in La Coruña, was contundent enough to help us defined his so-called Vulture Aesthetic, a kind of worldview that governs his way of doing and understanding cinema. The figure of the Vulture is not only assumed as a simple metaphor of a being hunting for archival material or “detritus” but also the one that has the capacity of reviving and transforming time through celluloid, re-catch it and recreate it. Or like someone with an acute vision, who isn’t afraid to be attentive to adopt the irruption of the unexpected and the environment, even for a brief period of time, and be part of it.