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Shot on Super 8, in black and white, The speedy mansion is an intense, giddy and feverish visual work, where daily life, hallucinations, references to low culture, gay sexual fantasies and formal experimentation are mixed up in a masterly way. It is a breath of fresh air and talent for the most exquisite palates of the image, and for enthusiasts of transgression.
Avoiding any attempt to draw out a conventional narrative, the piece takes an expanded, postmodern moment to the extreme, and is a good example of the feeling of vertigo present towards the end of the 20th century, before the arrival of the new millennium. It is an unclassifiable work that provides the viewer with a wide range of nostalgic material, both formally and in terms of subject matter.
An endless loop set to the beat of minimalist music that hints at a return to the first avant-gardes, with culinary animation, re-edited found footage, phantasmagoria, flashes of porn and children’s fairy tales; all of which go on a trip of no return in the company of the director’s usual nightmares: furniture that moves without anyone touching it, amateur performances of his friends, quoting underground film, horror films, and B movies; all of this under life’s playful/tragic veil... which turn David Domingo into a cult film director.
Using found footage, folds, and film detournement, an heir to surrealism and visionary films, David Domingo’s films fragment the image until its dissolution into a whole that acquires a texture brimming with layers of meaning.
Gradually, and mainly thanks to word of mouth and to the reviews of a few initiates, his work has established itself in the circuits of experimental cinema as much as in those of the contemporary art world as a result of the malleability of his work, where documentary, video art and visual poetry converge.
Actors: Carlos Cañadas, Juan Dos, Manolo Dos
Original Soundtrack: Mike Gómez