Born of ideas received from pictorial practice and dismantling, Lamadrid and Utray present a reflection on emergencies and the frozen moment.
A helicopter, functioning like an aerial life raft, pulls a boy off a rooftop thus rescuing him from a supposed catastrophe that isn't seen in the video. The image of the helicopter is delayed and delimited, creating an anxiety for its arrival, landing, and fulfilling of its function. The action is repeated, revised, and re-framed at the same time a two-word mantra- like text (“instantaneous spirit instantaneous spirit...”) becomes the medium of a metronome's alternating rhythms and a black cross. The plastic mechanism takes over the event, immobilizing it. The constant regeneration of the helicopter is geometrically fragmented in the screen's center. The distanced sequence is transformed into a recurring icon of pressure, adulterated by intrusive mechanisms. These mechanisms, at the same time, are amalgamated through the constantly ascending text. In this way, the authors bring pictorial practice to the audiovisual, where the concept responds to a de-contextualized image by integrating iconic graphics.
This entire concentration is emphasized from the title, Punto en boca, which along with expression like “be quiet” or “not a word to anyone” popularly refers to both the obligation to keep a secret as well as the need to impose silence or tell someone to shut up. This is a warning that accentuates the attention to what is happening, to carefully observe a micro-event that condenses force and visual tension. It is the application of a specific analysis of a film's futile fraction separated from its continuum. The spectator's complex mechanisms of attention and focalization are submerged into a state of altered contemplation. A hypnotic flow rescues the spectator from normalized sensitive speculation of cinematography and brings him or her to other unfathomable mental absorptions.