Forty films divided into nine programmes, along with the opening session –The Castle (Massimo D´Anolfi, Martina Parenti, 2011)– and the closing session –Our Century, Artavazd Pelechian, 1982–, round off this year’s Punto de Vista themed retrospective, entitled FLYING, which is devoted not only to man’s desire to fly, but also to what the flight of bird hides, the composition of air, everyday life in an airport, how an astronaut feels, the acrobatics of springboard divers, the mesmerising power of clouds, the Arabic sheikhs’ passion for falcons, man’s attempts at becoming a winged creature, the vertical outlook of the filmmaker and the adventures of other air walkers.
Three of these programmes are concerned with the mystery and beauty that the flight of birds hides; the ephemeral nature of the aerial display of butterflies as a metaphor of the fragility of the job of a filmmaker; and the flight of the film camera itself when the filmmaker abandons it in the air.
Five films present us with a set of winged creatures as kings of the air to the envy of man and other inhabitants of the land. Pigeons that coo at a film pace, ravens with a superhuman speech and starlings that draw a thousand questions in the air. Finally, falcons from the oil countries, animals that have had their wings cut and now fly in private jets, by a twist of fate. This is flight in all of its grandeur, mystery and beauty.
Film experiments on the flight of the butterfly, as a film metaphor that is transformed and transforms us. Films in constant metamorphosis carry songs to the ephemeral inside. The testimony of an animal, the filmmaker, who is capable of burning his wings in his tireless flight towards the light.
The camera flying through the air to the glory of art, the exaltation of beauty or espionage. The end of the perspective, with the look of God and film abandoned in the sky. Drones, spy planes and other artistic artefacts to reach where the hand cannot go.