Normandy to Bach is a deeply personal yet carefully restrained love letter, both in form and content. As part of my Film Letters series, it intertwines intimate narration with images from a journey through northern France. Rather than focusing directly on the person to whom this letter is addressed, the film moves through landscapes, buildings, and fleeting glimpses of faces, allowing emotion to exist within spaces rather than through explicit representation. The presence of the subject emerges only in scattered moments, reinforcing the idea that love is often experienced through absence, memory, and environment rather than direct encounter.
