Valencia, also in 1968. The script is shared with the poet, Eduardo Hervas. In addition to the lack of connection and the drunkenness of images, we can see some constants in Maenza’s films: urban images of anonymous passers-by and pedestrians in outdoor scenes with the happening like a staging weapon; the ever presence of the word written on banners or on slate and, finally an orgy-meeting of liberators in an enclosed space. The mattress and slate are the basic tools for the revolution, one to free the body and the second to free the masses. Che is questioned, Godard is questioned, film itself is questioned in a text that is also preserved to be read live with three voices and music. Film like a tram on fire and outside, Spain was still under dictatorship.
