Filmmaker Nadja Ericsson premiered her first feature film, The Wild Duck/Vildanden, at the last edition of the prestigious Rotterdam Festival. However, her career began several years earlier, at the Faculty of Fine Arts in Malmö (Sweden), from which she graduated in 2020. Discovering the short films she made during her formative years means approaching a creator with a vast range of concerns and expressive resources. If in her debut feature film the center of interest is occupied by the transposition of an original by Henrik Ibsen through an intense work with the text and with the elements of staging and recording, Nadja Ericsson's short films show a singular reworking of found footage with which to investigate the folds of memory and the natural landscape (elements, on the other hand, already present in The Wild Duck). Notes on a Pine Forest (2018) assembles fragments of military recordings with excerpts from the poet Francis Ponge to articulate a reflection on the gaze. A Wine-colored Sea (2019) dives, instead, into the depths of the Baltic Sea, again contrasting archival images with a voice over that seems to represent all the inhabitants of the seabed. In these two short works, Ericsson transcends the coldness that could emerge from images of institutional use to give way to disturbing or sublime forms of poetry. GABRIEL DOMÉNECH