If La Bola Negra is proof of anything, it’s that Calvo and Ambrossi know how to frame an image and make it sing. Lavish, ambitious, and formally daring, their film is heavenly to look at – shot on location in remote abandoned villages or in hyper-real sets. Shot by cinematographer Gris Jordana on 35mm film stock, each of the three stories has a distinct visual identity, taking cues not only from their settings but from the psychological framework of their protagonists. The camera lingers in a frozen overhead shot over a truck full of soldiers’ corpses, full of blood and gore, until we see that someone there is alive. It glides beautifully through a smoky, darkened bar where Carlos drunkenly dances with strangers. And it sits static over a snowy field, stunning and melancholy, like a cinematic sigh.
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