Valentin de las Sierras, 1967, 10 min
"This ten minute portrait of lives lived in rare air and under sunlight of liquid gold is, simply put, one of the most beautiful films ever made." –Chuck Stephens
"In 'Valentin' I just shot simply but used a telephoto lens with an extension tube on the back, which gives you a very limited focal plane, a few inches. No one I know ever uses it with a long lens, especially with a moving subject, but I really liked the way it looked. I had to get into the flesh of that town, with the merciless sun beating into the bricks of the street and all the death-every night there'd be something or somebody killed, lying in the street in the morning. I had met up with this (archetypal) young girl, riding her pony. And I was afraid to meet her father.
I'd sent word out trying to see her, and he sent word back to come meet him, and I thought, "Oh, God!". But he turned out to be a very nice fellow: Manuel Sasa Zamora, of Jalisco. They were very poor and lived behind a big gate and had a horse and a dog named Penquina. That horse didn't like me and would not let me film. I had to give it up for a while. Later, I named my horse after the film - Valentina." –Bruce Baillie