This group of films is brought together by their intention to imagine that which is "outside". Something extra cinematographic, extra artistic, extra linguistic. In these "outside" the question of immanence arises, endowing the film with a quality to become a sort of cave instrument. The mountains, the plants, the clouds. The beams of light on the ground, the murmur of the river. The scratches, the mystery of the underexposed, the stalking of silence. This game of the pre-human from the human, or the pre-cinematic from the cinematographic, seems here to be constituted from a ritual of intuition, observation and/or luck. Possible, but incomplete. The sharpness of these stagings perhaps lies in their questions about the most appropriate material for their plastic art: the effect of time on man. - Carlos Renteria