As an extension of the exhibition Un destello de posibilidad, this film series expands and complements the visual and conceptual universe of the show. Through the moving image, the screen proposes a direct dialogue with photography by means of synthetic narratives, fragmenting framing, disruptive montage, and non-linear storytelling.
As in the photographs, we encounter fragmentary shots, concise narratives, disruptive editing and non-linear storytelling.
In The Pursuit of Happiness, photographer and filmmaker Rudy Burckhardt portrays the human tide rushing to work each morning, echoing the “Tokyotas” of Yutaka Takanashi and the images of David Goldblatt.
Altair, Lewis Klahr’s unsettling animated collage, features a female character who could well have been captured by Anthony Hernandez’s camera.
The protagonists of Zachary Epcar’s Sinking Feeling drift through the office or on their commutes to work, much like the figures enclosed in their cars or on the underground in another of Goldblatt’s or Takanashi’s series.
Nice Time, Alain Tanner and Claude Goretta’s Free Cinema film, captures the atmosphere of Piccadilly Circus: cinemas, theatres, popular attractions and erotic entertainment aimed at the working class; images that resonate with those of Susan Meiselas, Louis Faurer and Paco Martí.
Finally, Sabotage, by Dutch filmmaker Noucha van Brakel, depicts an act of reappropriation of a public space that finds an echo in the series by Xabier Ribas and Ed Ruscha, and in the photographs of Helen Levitt, Jürgen Schadeberg and Joel Meyerowitz; neighbourhoods and outskirts undergoing transformation that foreshadow a landscape of shipwrecks, such as the one Bleda y Rosa would document thirty years later.