The members of Video-Nou/SVC maintain that although they joined the experience of the “socio-cultural animation”, a subproduct of May '68 in France, they were always critical of its postulates. “The wave caught us”, they have said, “the project of socio-cultural animation had an ambiguous formulation with which we felt somewhat uncomfortable. This of course doesn’t mean that we were able to get over
Ocaña. Exposición en la Galeria Mec-Mec [Ocaña. Exhibition at the Mec-Mec Gallery] in a way illustrates the above statement. It shows a fragment of the cultural, or rather, countercultural life of Barcelona in those days. Video-Nou went to the art gallery Galería Mec-Mec, where Ocaña talks about his exhibition, describing the different settings, paintings and objects. He explains to the camera certain events and talks about their meaning, which “he mixes with his experiences, his ideas and his personal memory.”
During the 34 minutes of the film, we watch a series of scenes take shape before our eyes: Ocaña crossdresses as a woman and starts dancing sevillanas, Camilo joins the dance under the perplexed gaze of the visitors to the exhibition. At that moment, Ventura Pons’ film team, which was then shooting the film that would later be known as Ocaña, retrato intermitente [Ocaña, an intermittent portrait], come in. Ocaña sings flamenco, accompanied by Camilo’s guitar. Further on, Ocaña resumes his commentary of the exhibition, then recites a poem to the Macarena, and at last, he again stages a fragment of a theatre piece (most probably by the Quintero brothers) with Camilo. The film concludes with images of Ventura Pons’ film team.