Manuel Marzel

Real images and superimposed drawings create a synthesis full of vibrant suggestions about the absurd, complex, and beautiful aspects of our planet.

The film opens with Audry Gutiérrez Alea, Titón's daughter, using a banana as a dildo. The short is part of a double experiment of which only half was filmed. Marzel wrote two scripts: an original and its parody, but only wanted to make the latter. Therefore, we are witnessing a reference without a reference, which involves the most absurd series of dialogues and monologues of which the national cinema has memory.

The film opens with Audry Gutiérrez Alea, Titón's daughter, using a banana as a dildo. The short is part of a double experiment of which only half was filmed. Marzel wrote two scripts: an original and its parody, but only wanted to make the latter. Therefore, we are witnessing a reference without a reference, which involves the most absurd series of dialogues and monologues of which the national cinema has memory.

Real images and superimposed drawings create a synthesis full of vibrant suggestions about the absurd, complex, and beautiful aspects of our planet.

A woman's journey on an imaginary motorcycle and her encounter with a necklace collector.

A woman's journey on an imaginary motorcycle and her encounter with a necklace collector.

A Sunday afternoon in the neighbourhood: apparently nothing happens. In this stillness, humorous observations unfold, in which the trivial becomes poetic, turning the absence of events into the film’s central narrative material.

The supposed discovery of the last reel of a long-lost film makes it possible to see this film... or chaos.