Interview links :

Neighboring Scenes : Laura Huertas Millán on her hybrid film, Sol Negro.
Interview with Ela Bittencourt
Kinoscope Magazine, January 2017

“Is Trauma Lived in Solitude?” The Filmmakers of Neighboring Scenes at the FSLC
Interview with Lina Rodriguez, Marília Rocha and Laura Huertas Millán and Ela Bittencourt
Brooklyn Magazine, January 2017

Entretien Nicolas Feodoroff - Laura Huertas Millán
Journal du FIDMarseille, Juillet 2017

Entretien Mo Gourmelon - Laura Huertas Millán
www.saisonvideo.com, mai 2017

Ficción etnográfica en el MAMM: Cuatro preguntas a Laura Huertas Millán
Entrevista con Manuela Moscoso, publicada por Pedro Adrián Zuluaga
Pajarera del Medio, Junio 2016


Press links :

Film Comment, Festivals: Doclisboa 2016 by Leo Goldsmith.
"Given (Doclisboa´s) capacious definition of the documentary mode, a number of its best films hybridize actuality and fiction into complex—and occasionally baffling—new forms. Colombian director Laura Huertas Millán’s Black Sun, winner of a Special Mention for Best Competition Film, is a medium-length work that mixes memoir and melodrama. The film drifts between a rehab clinic, a dinner table, an abandoned theater, and a barren, twilit outcropping, playing with themes of trauma and therapy, familial estrangement and various modes of healing, training, and catharsis. Between these two spaces are three women: Antonia, an opera singer and, it seems, a resident of the clinic; her estranged older sister, who scrolls through Antonia’s Facebook page for clues about her life; and the filmmaker herself, daughter of the latter sister, who serves as interlocutor and medium. Her intervention seems to provide the necessary link to bridge the film’s many fragmented locations and states of being—in an effort, as her mother later says, to “conserv[e] the family link but without the cord of sorrow.” Made in affiliation with Harvard’s Sensory Ethnography Lab but bearing few of its stylistic hallmarks, Black Sun works mysteriously, through dismantled sequences and elusive editing, tight frames and dim lighting, toward a form that refuses to extricate past from present, the imaginary from the real."

Sight & Sound Magazine, Ghost pictures: five phantom finds at FID Marseille 2016 by Michael Pattison.
"
Performance and expression are also in some way haunted, burdened and – eventually – sublime in Laura Huertas Millán’s powerfully intimate, 43-minute Sol Negro (Black Sun). Opening on the warm-up exercises of a singing lesson, this deeply intriguing character study focuses on Antonia, a classical singer who, we gradually infer, is recovering from a suicide attempt. In the end credits we also discover that the actress, Nohemi Millán, shares her surname with the director, as well as with another principal performer: indeed, Huertas Millán, a graduate of both the Ecole Nationale des Beaux-Arts de Paris and Le Fresnoy, has painted a searingly intelligent family portrait – of her own mother and aunt, and of individual suffering experienced collectively (the director herself also appears). The France-based Colombian – who is also currently a fellow at Harvard’s Sensory Ethnography Lab – confidently withholds a lot of information from her viewers. But her rigorous retention of a tonal ambiguity, through spatially distant but optically claustrophobic camera set-ups, is quietly riveting. One scene, in which Antonia weeps her way through dinner – the camera unflinching in its attention to her mascara-strewn face – is particularly intense, precisely because it seems to both complicate and confirm the film’s fictive foundations. Perhaps unfiction is the word: embodying the kind of narrative and textural space in which FID, at its best, specialises, Sol Negro is extraordinary filmmaking, even before its astonishing coda – in which Antonia belts out a heart-swelling aria in a disused theatre space. Huertas Millán and cinematographer Jordane Chouzenoux manage to light and frame the proscenium in such a way that, until the protagonist appears, I thought it was a miniature set – the kind that would show up, say, in a British-era Hitchcock picture."