“The image within the film, or within the chemistry”, such as Charlotte Pryce names it, is the motif with which, in her movies, Pryce appeals to another way of regarding visuality. It is about instigating us to look at visible images from that which can never be seen, but which can, however, be suggested through fantastic and magical shapes. “The Secret Commonwealth”, a folklore collection of supernatural tales primarily about Scottish highland fairies, gathered by Robert Kirk between 1691 and 1692, inspires Pryce’s film, which also resorts to the portrait of Ophelia, drowned in mysterious circumstances, in order to reveal the allure of water. What initially appears to be a movie that approaches nature from its surface, in delicious portraits of Gerris Lacustris – the water strider – hovering over water, quickly gives way to an encounter with the depths of that enchanted and muddy liquid element, where the undulation between the hidden and the visible magically shapes the image. (RiM)