a lucia is not an homage, neither to the light of Romanticism nor a specific individual nor a tradition in film or art history; it is not a manifesto inspired by a political philosophy, though it is always present and the object of its dedication. This film rhetorically fuses (possible) aesthetic experience of beauty and (possible) symbols of anarchy, whether in the direct succession of a mighty mountain range which fill the viewer´s gaze and the horizon, delay and forward movement, or isolated persons and death.
The images, time delayed and sequential individual impressions, produce and visualize various states of emptiness, a concentration of the senses which is both idyllic and agitated. These images have been imbued with stormy elements and a forced graininess, while theintermittent crackling soundtrack supports both density and emptiness. The individual subjects do not show causality; the text comprises the event of the depiction rather than the traces of its circumstances. At the same time, they break out in an unreal moment of openness, a beauty which has been liberated from practical interests and systems, and produce anxiety in the presence of irreversibility.