On this occasion, the starting point, as suggested by Oteiza, is a border sculpture. Like a collage, the film revolves around an article written by Josep Quetglas and Gillermo Zuaznabar which analyses Jorge Oteiza’s work, located on the International Bridge (1971), between Irun and Hendaya. It does not have objective pretensions, but a way of looking, of understanding a stone to rescue it from the hands of those who guard a border like a protection line of their belongings, and those who have abused it over the years, without understanding it. The film does not aim to convince. It does not invite ideas to be shared or what it tells to be communed. The intention, whilst being more humble, at the same time seems to be more perverse: the images infect the look of their observers and condemn them to listen to the hidden secret kept. If this occurs, the stone will be rescued, and will remain inside framework of the debate and who worked it.
