An experimental film narrative is constructed from the material remains of a short film. This is a quick sketch suggesting a possible love and death story. Coincidental, albeit premeditated, encounters of individuals, together with a narrative, make us imagine a girl, a betrayal, a bad guy, a stalker and a victim.
In this piece, based on Robert Walter’s story Sketch, Lacuesta combines unconnected fragments of lightheartedly shot material in order to put together a series of throbbingly tense moments of romantic incommunication, doubt and escape. It is not about motivations. He rather plays with portraits and landscapes and suggests different types of human behaviour. Movements and intimacies, that, structured like a melodrama or romance, offer us ironic imitations of romance literature (with the musical background of Neil Young’s blues in ‘Dead Man’).
The recombination of shots generates gaps that are interpreted (thanks to our training in standard film codes) as skids in time, subjective visions or repetitions which, considered optimistically, are supposed to contribute new information. A potential new logic to organise all data within consciousness is longed for. A succession of moments does not constitute a story, and a story likewise cannot be reduced to the sum of its moments. The story becomes a possible one only when the spectator organises it in her head. Beyond this head, there are conversations, chases, outbursts and bedlam. Moments that happen in succession and then dissolve forever: the image suggests, the text anchors and the outcome remains unresolved.
“With the only roll of film we had left over, coming back from the end of shooting party, we decided to shoot these improvised meters of film at dawn. A few months later, we edited them as a birthday present for Pep Prieto, since, when we developed the film, we noticed that he was the one who featured most prominently in it. He was therefore the accidental protagonist of this 'sketch'.“ (Isaki Lacuesta)