Following the creative process of a film, I had the chance to visit the mysterious cave of Cacahuamilpa, at the state of Guerrero in Mexico.
As soon as the shooting started, the darkness of the cave made me think of a border between the movie´s staging mock and the cavern´s sense of reality, as the profanation of the place by the film, the incomplete impressions of the shooting rhythm, collided with the irregular flutter of the bats, the esoteric forms of the rock.
Despite the differences between these two universes, finally came out an unexpected communion, an enigmatic syncretism where the film´s lights not only illuminated faces of actors and technicians, but also mysterious figures on the rock, like a harmonious symphony of little `mirages´ spread out all over the cave.
Due to my fascination with the revelation, I decided to step away from the crew and the frenzy of work, and keep the right distance to notice these precise signs which are only spotted by the attentive spirit of photography and by the refusal of the filter of reason; because it is no longer about building images but to recognize them from the overwhelming stream of images and distractions we are usually involved in.
So far, this project do not try to explain anything at all, but to invite spectators to reflect on the shadow of the creative process of any film, on its madness and mystery, on its constant search for lost identity, on its lifetime contract with technologies, with the fantasy. A trip from the contemporary to the underground memory, to its unattainable footprint, to its still unveiled true.
`Pour l’œil profond qui voit, les antres sont des cris.´