Cuestionar la convención desde la provocación del lenguaje cinematográfico

A close up on "Foquito" by Julián Escandarani.
By Nicolás Sandrini.

"Foquito" is a trial and error essay on things that are supposed to be insignificant in everyday life. In a first reading and in a reverse sense, trying to commit suicide is perhaps as dangerous as changing a light bulb. But the concept sheds more light on the matter.

Expectation and betrayal are pillars in a narrative game that summons the spectator as an active witness, assuming a place that includes him in the story as a third character who observes the sequence and anticipates the expected outcome.

With a remarkable setting and staging, the device appeals to the cinephile memory and revisits images constructed and legitimized with the verisimilitude of the big screen, on the audiovisual treatment of the act of suicide.

The woman bursts in from off-camera and predicts another possible ending, but the cinematographic power asserts its indeclinable will and the individual, who has no face and has no history, is the victim of the film. Meanwhile, we, the spectators, certify that the ending is as fatal as we were promised when we paid for our ticket, between sodas and popcorn from this side of the fourth wall.

"Foquito" addresses, with lights and shadows, a call for attention to the conventions of the audiovisual cultural apparatus that the hegemonic cinematographic discourse installed with greater efficiency. The challenge points the way to the formation of new audiences that question the established, in order to transcend towards the creation of a new language of images.

2023 Grand Prix winner.

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