Albeit the extreme sharpness (impossible back then), the vintage faded colours of the picture get me back to the worst film ever, ORWOCHROM (East Germany produced, often expired, slides film). These exact characteristics are also the entry point of the picture. But that's that.
Because the seemingly holiday memories snapshot, passes the B&W test and keeps all its interpretational content even naked down to the grey palette.
The docks photographed at eye level, with the sea and the sky meeting halfway, is a very dear subject to the photographers, as it represents the grip of the HOMO FABER on nature and destiny.
But here the author is not satisfied to limit herself to this symbolism and she is using the solid symmetrical composition as a stage to place her drama(tic) play.
What is impressive, is the fact that every single actor of the image, taken separately, has its own power of presence, its own concealed existence.
Diverging glances that will never meet and lock, mother and child looking to a far end (a timeless metaphor of the unsettling tranquillity in front of the unknown) and the main actor costumed as surreally as it gets.
Intriguing, contradictory, iconic!
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