Direction: José Antonio Maenza
Before starting, a warning: this is not a film. This is the copycat of a film that was never staged. What’s more, this is the half of the four-hour copycat that is still conserved in the archives of Pere Portabella and which is also silent, without any sound. Therefore, the experience of watching it is unique. More so in a case like that of Maenza, such a lover of chaos and the unfinished. Hortensia/Beancé has the chronology of filming, with all of the scenes mixed up, the clapperboards on the screen, faces looking into the camera or retakes. All of this enables us to understand the author’s mental puzzle better and try to compose it in our minds. Enjoying the stimulation of the sketch and visiting the anteroom, which many times is more a reflection of the essence of the work tan the final result. We are now in Barcelona, at the end of the 1960s, Maenza’s third and final film which is the most seriously made, if serious can be understood by a producer, a photography director and make-up. The excellent work in Manel Esteban’s images takes us aesthetically to Japan, with highly pictorial compositions influenced by No theatre and taking advantage of the textures of the sound negative. In this atmosphere and with this chaos, we will see the first nude images of Emma Cohen which is penetrated cinematographically by the camera; a very young Félix de Azúa intoning the Goldberg (said to be better than Glen Gould); Irazoki de Pasolini entering a book store astride a motorbike or Vila-Matas dancing on a tile.