Capturing the Graceful Spectacle of Andalusia’s La Saca de las Yeguas
At the end of each June, over 1000 horses that for most of the year run
semi-wild in the marshland, plains and forest that surround the
Andalusian town of Almonte are rounded up by yegüerizos, the
horsemen who hold sway over these large herds. The annual La Saca de las
Yeguas dates back over 500 years, and characterizes the rural Spanish
landscape as much as Pamplona’s bull run, Buñol’s La Tomatina, and
Haro’s La Batalla de Vino. Filmmaker Glen Milner spent four days with
the riders, capturing the scale of the custom and the elegance of the
horses as the animals were driven past the Hermitage of El Rocío to be
blessed, and then into the town to thunder through the narrow streets.
“Themes of tradition, and where tradition sits within modern society,
really interest me,” explains Milner, who traveled to Greenland to shoot
the first dawn of the year with Ben Hilton for Return of the Sun,
a film that was shortlisted for Best British Short Film at the 2012
Leeds International Film Festival, and is currently working on a longer
documentary about the Middle East. “After speaking with the horsemen in
Almonte, and in particular their sons, it became apparent how much of
their identity comes from their relationship with the land,” he says.
“Horsemen as young as 15 talked of living in harmony with their
surroundings and respecting the animals that share it.”
Filmmakers Glen Milner and Ben Hilton Witness Greenland's First Dawn of the Year
Set against the expansively beautiful and iridescent landscape of Northern Greenland, Glen Milner and Ben Hilton's subtle and touching short visits the annual sun-welcoming ritual of the country’s Inuit population, which celebrates the dawn after more than 40 days of complete winter darkness. Following the daily routine of an Inuit ice fisherman and his son, Return of the Sun examines the affects of the changing climate on their livelihood and community, and pays tribute to the locals’ innate adaptability. “While we were there our fisherman lost hundreds of pounds of fish due to ice breaking away and lines being lost, rare for this time of year,” explains Milner. “The fishermen were already thinking of new ways to hunt and the Inuit attitude in such a harsh environment proved inspiring.” Although the pair had previously worked together on diverse projects including Rwandan genocide prisoners and a short on experimental rock band Rolo Tomassi, filming in Greenland’s harsh environment offered unique new challenges. “Filming in such low temperatures with high winds is grueling. Keeping the camera out of the battering snow, keeping it warm and getting sound away from the winds was really tough, and it's so dark,” says Hilton. “But emotionally, you see nature at its most inspiring and its most intense.”
STATS FROM ON SET
Longitude and Latitude
69° 13 min N; 51° 6 min W.
Average daily temperature
Average daily wind speed
5.6–11 km/h (Force 2, Beaufort Scale).
Affect of changing climate
Ice depleting by up to 15 meters (49 feet) per year in Ilulissat, meaning 20 billion tons of iceberg break off and pass out of the Ilulissat fjord annually.
Hours of darkness per day while filming
Days of total darkness per year
Average sunlight per year
On balance, 1,878 sunshine hours––approximately 5.1 sunlight hours per day.
Traditional first annual sunrise
January 13 (13 minutes before 13:00).
Sunrise in 2011
Number of inhabitants
1 x 4x4, 6 x planes, 1 x small fishing boat, dog sleds.
Number of dogs per sled
Sony F3 with Zeiss ZF lenses.
Length of shoot
Two days traveling to location, six days filming, two days traveling back.
Clothes worn while filming
North Face everything.
Average number of layers of clothing
Arctic skincare packs and lots of ChapStick.
Food during filming
Equal mix of fine dining and Pot Noodle.
The International Ballet Sensation Shows Off Some Bold New Moves
Through the bustle of Manhattan’s busy streets, down a nondescript hallway and into American Ballet Theater’s bright NYC studios, one of the world’s preeminent male dancers, David Hallberg, invites us into his fervid world in this dynamic short by director Eric K. Yue. “It’s less about the dance or context of a story, but rather a state of mind,” says Yue of his glimpse into the dancer’s tender preparation. “David makes the most difficult and complex moves seem effortless and elegant.” Contemporary Icelandic composer Ólafur Arnalds’ track “Brim” taken from From Now I am Winter accompanies the progressive movement as Hallberg leaps through the space, twisting and contorting to original choreography created specifically for this film, by friend and fellow ABT dancer Marcelo Gomes. “There was no preconceived notion of how a role has been portrayed in the past, like Swan Lake or Sleeping Beauty,” says Hallberg of performing for the short, which was produced by Forever Pictures. “It is really intimate because the camera is so close, whereas at the Met you have to project to an audience hundreds of feet away.” Principal dancer at New York’s American Ballet Theater, the Dakotan bridged the transatlantic gap in a historic milestone as the first American to join Moscow’s prestigious Bolshoi Ballet in 2011, now spanning the distance as leading man at both. The cultural polymath dominated the pages of April’s American Vogue, shot by photographer Annie Leibovitz in a dramatic editorial, and he also featured in the latest issue of CR Fashion Book, now seating him firmly in the eye-line of the fashion masses, and dance enthusiasts, alike.
David wears white shirt by SIKI IM, khaki pants and shoes by Marc Jacobs.