As near as I can tell, this is a stand-alone movie — meaning that it was conceived and created as a moving picture. I can find no MetArt gallery featuring the same model, photographer, and location in the archives. And, while a still set might well have been created by these collaborators, for release at a later date, I don’t think this video was recorded while still photos were being taken. And, in case all the previous words don’t make it clear, I think that’s a good thing. I enjoy videos of photo shoots, but a self-contained movie offers a different experience.
A crucial part of that experience is the cameraman. In a video of a photo shoot, an assistant mans the camcorder while the photographer and nominal director handles the still camera. As a result, the assistant contributes much to the visual style of such productions. Here I think it’s safe to assume that Leonardo is operating the video camera, and his style and skill is very much in evidence.
The opening sequence — a quick shot of the background, a slow pan up Adelia A.’s body, from toes to head, and a dissolve to another headshot — has a subtle, controlled artistry that sets the tempo and the flavor of what follows.
Adelia’s trim body glows with a light sheen of oil. At several points in the production a flare of reflected light plays across her face or on various parts of her body — a pleasing and creative effect. And the model’s performance is well matched to the style and rhythm of the movie. Adelia is expressive, but in a controlled, restrained manner. This is an engaging performance, but it is not at all theatrical or overblown. The subject, the setting, and the artistry of its execution ensure that “Disposa” is anything but disposable.