“Many suffer awareness like a fatigue but in Anastasia Erastova’s and Geraldo Arias’ film consciousness is light, elate, our global life, the breath of the planet — our community of awareness. It is in everything, everywhere and in everyone. And as we bathe in Anastasia’s imagery and terse poetic narration, slowly, quietly but powerfully, an elemental gratitude that we can perceive dawns on us and, it seems, across the earth. It’s a prayer upon the air. A birth of the un-mediated before our eyes, to refresh how we perceive, to free us from conventional mediation, given a dilated soul before experience. It’s magical but starkly real and startling (one might say we share her series of startlements), sheered of sentiment or self-consciousness but profoundly moving through pure lyricism.

Guided by Jordanian camels, Laotian elephants, Finnish huskies, dancing Norwegian Northern lights (auroras), inter-lacing lightning, skyscraper silhouettes, accelerated commuter cameos, Georgian waterfalls, the quietudes of a Japanese bamboo forest, New Mexican hot air balloons, and white sand deserts … We follow her poetic witness to worlds and the universe. Since everything has always happened at once, and in the present, Anastasia and Geraldo reveal being as becoming in a kaleidoscope of simultaneity: spaces open then vanish, time as pure change unveils a revelation of rivers, deserts, mountains — and generous souls. Magnitudes and miniatures, vistas & a flower stamen here suggest, how we may re-awake to perceive anew, to allow events and lives to speak for themselves.

Anastasia’s and Geraldo’s film is, then, arguably about awe.

To quote from the first chapter of my Noticing and Awe: