Anthropozulo reveals the essential contradictions of the “I” in the face of the “other”. For this, Rekalde creates a metaphor of home, represented by a room as the space of the individual’s protection. The piece comprises ten sequences specifically developed for a video format, and presents a story about the anxiety of any relationship. A vicious circle that is cyclically renewed with every new existence.
Anthropozulo begins with the following words: “I am not armed and I don’t go around smashing people’s heads”. The individual states his claims against his world. The story is introduced by the noise of an old film, the ten sequences are numbered from 1 to 0. A naked man, “I”, facing the future, walks along a corridor. His leg is wounded, a sign of the man’s primal nature. He takes refuge in an austere room, a cell where his particular existence takes shape. Drinking water he calms his ardent nature. The scene is matched with that of a dark skinned woman, his “other”, half naked and wounded, drinking in another room. She feels an itch and an anguish. She is tense, clapping, oscillating with her desire. A dog comes out from under the bed and in a third space, a emaciated child, whilst a soldier protects him, drinks from one of the many cups of milk lined up before him. Animation cartoons of winged beings, grotesque spirits, projected onto an “I” and thereby interfering with his thoughts. The “other” appears within a power relation with the “I” in his cell. This ambiguous treatment, whereby violence does not imply domination, is controlled arbitrarily by mutual agreement. She, in her alcove, tenses her body into a dance of pain while both contenders synchronise and self-define themselves. The first close-up shot of the face of the “I” is filled with graphics, with unknowns. In 0, the meeting between “I” and “her” takes place, before a window, reconciliating their dissymmetries.
Rekalde questions the anthropological fantasies around a being sheltered in the cave of his immediate natural experience. Within the movements of one individual as he relates to two others, Anthropozulo develops the notion of the privation of the utopic freedom that is always conditioned by social relations. In the emotional cadences of the protagonist “I”, different moments of violence and despair are introduced, which suggest the “I”’s mental and physical skills. Rekalde uses the rhetoric of unusual routines to question the will to control one’s own destiny, the traumatic anxiety of an isolated being. The longing of this “I” is his own identity stripped away from its links, sensitive movements that arouse complex relations.
Camera: Enrique Uralde
Lights: Enrique Uralde and Rafa Calderón
Music: José Luís Rebollo (Madelman)
Edition: Jon González and Xabier Txurruka
Graphics: Xabier Txurruka
Infography: José Rekalde
Actors: Mikel Larrea, Jon Mikel Euba, Ahïza Cheddad, Víctor Cabaco and Alper