Shot on 16mm film and using archival inserts, Herbaria uses a unique parallel between two branches of modern conservation as its starting point: film and flora, contemplating on the common, ephemeral nature of the two ecosystems.
Cinema is a method of embalming time, André Bazin wrote – the utility of moving images in preserving natural life forms, as well as that of the image itself (from natural entropy), is put under the microscope in Leandro Listori’s second feature. Problematizing the legacy of German naturalists (from Alexander von Humboldt onwards) in Argentina as well as the climate crisis, the Argentine filmmaker combines footage from natural science and film laboratories, tracing their work with Bressonian patience, with scientific short films from the first half of the 20th century, thus inviting one to contemplate on concepts such as memory and heritage, starting from natural, cultural, scientific and even ontological perspectives. (Flavia Dima, BIEFF 2022)
Leandro Listorti (b. 1976, Buenos Aires) is an Argentinian filmmaker, programmer and archivist. He worked from 2005 to 2015 as programmer at Buenos Aires International Independent Film Festival and since 2016 he is in charge of the Technical Coordination of the Buenos Aires’ Museo del Cine. His debut feature Death Youth was part of IDFA, Viennale and Doclisboa, among others. During 2017, together with Paula Zyngierman, he founded the production company MaravillaCine. In 2018, he premiered The Endless Film at IFFR Rotterdam and he was an artist-in-residence at the Living Archive (Arsenal Berlin). Herbaria (2022) is his second feature film.