Suppose you're making a list of the films that you'll see at the Festival, taking notes that seem most interesting to you in the notebook, always thinking about the same advice: try to take advantage of works that will not be so easily seen later, capture more different films. Izaro's first references have appeared to you on the net and seem to be one of the most varied options of all the programming, the artist's first film Txuspo Poyo. You made room on Sunday's desk, even if Poyo is going to be there to introduce the film.

It goes with the awareness that it's going to be a different movie. Not until the neck, but the room is like full. You arrive late to tell you everything and don't let you in until Poyo ends the show, when you tell the door guard that that's what you don't want to miss and, finally, opens a slice at the door and lets you look. But you don't hear anything. “After the screening there will be a colloquium,” he tried to reassure you. Poyo is over, you've been let in and you've occupied the site until the looks of the ones you raised in your line hit you in your chest.

“It’s a collage, a puzzle,” have been the artist’s first words in the post-performance colloquium. The work shows the various meanings of Izaro that the artist has discovered by pulling the island of Izaro de Urdaibai: The Windsor Tower of Madrid, the film breaker of the producer Izaro films 70.hamarkadako, the tuna boat that goes back to the waters of Sevwaukee, two friends of the different genres called Izaro, the tile that the mayor of Bermeo throws every year into the waters of the sea to reclaim the ownership of the island… Social behaviors, personal stories, they overlap in time. It's a different way to build a narrative, you don't have your eyes built on the language of video art, and you like the difference, the generosity with the viewer, more, perhaps, when in the morning they came from watching a rather more conventional movie.

The programme also announced the presence of Aizpea Goenaga, who gave a voice to the story, but instead it was Jaime Cuenca, the author of the texts. They have recognised that the most difficult thing has been assembly, the way in which research on Izaro has been formalised, in which the fight has been played. “I’m afraid of the possibilities,” Poyo said. And you've seen it all there, how things hide much more than they show, in one way or another, how everything is tied.

Hold your ears at the outlet to take the temperature. You have heard Fulanito, Bérendia and Sandia, respectively: “Martzianada,” “Awesome,” “Interesting.”