Film from which the header for this year’s Punto de Vista emerged and the jewel of Jorge Oteiza’s film archive, in which most of the Super8 that have been preserved are not an archive register but a film attempt, like the positioning of a sculpture or the filming of a day of regattas. However, this is not so in this case. In Urbia, the film begins with a family purpose - the recording of an excursion-, but it is soon forgotten and becomes something else. This is where its great value lies. Initially, Jorge Oteiza captures a group of visiting friends on his camera, spending a sunny day on the edge of the Urbia countryside, close to Aranzazu in Gipuzkoa. However, the family shots do not last long. Soon, Jorge Oteiza is captivated by the surrounding landscape: capturing all of the silhouettes of the mountains that surround him, playing with the profile that cuts the sky through his movements in a feast of images and dance of shapes that is reminiscent of a Vertov of the terrain. It is Oteiza with the camera. The family leave the field of vision and the limelight is taken by the horses and the landscape, where the beautiful image of an ox cart in the red sunset is not missing. Oteiza spoke of this filming and said that it was a film that he wanted to show to see how he had found the figures of his Apostles in the profiles of the huge rocks around him. From the recording, it can be seen that it was filmed over two different days, which is a chronological gift. The film walks towards the sunset and the final mountains are those that hide the sun behind them.