Cruz-Diez’s personal archives stretch back to early commercial work and comic strips, and even to childhood drawings saved by his mother. Within the film’s brief running time, Arvelo composes a capsule biography and career overview through new interviews with the artist’s children and grandchildren as well as archival footage - some of it, yes, black-and-white.
In Skype conversations with mathematician Spyridon Michalakis, physicist Ana Asenjo and Xbox co-creator Seamus Blackley, Cruz-Diez all but jumps out of his seat with childlike eagerness for a solution. On the other side of the planet, at no less a think tank than CalTech, a group of whizzes puzzle out ways to achieve the artist’s holy grail. Cruz-Diez (who died as the film was being completed, a couple of weeks before his 96th birthday) was determined to create “a chromatic event that would be ephemeral” - an experience of color with no physical supporting structure or visible source of light.
The director captures the Paris-based master, in pink shirt and illustrated suspenders, for a sit-down interview, at work, and in warm conversation with fellow Venezuelan Edgar Ramírez (the star of Arvelo’s Cyrano Fernández and The Liberator). Roger Deakins Shares Secrets Behind '1917's' Complex Choreography
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