“Whoever does not understand the cruel and absurd character of history will not even understand the passion to make sense of history”: The quote by Nietzsche determines the proposal made by the Gasteiztarra director to look at his work and, in passing, the recognition of principles. If we belong to the first group of the phrase, perhaps we will not capture the need for the film; those of us who do not belong to that group, however, we will be forced to undress. Even if it's to make sense.

The images of the film are taken off through testimonies about the Uncle, the Father and the Son. Both the archival material and the video images produced by the director have as their object the same scenario: the landscape of the Goierri, transformed by the events of the last century, in a physical and psychological sense. The images start from what you see, the voices of what you don't see. Moneo creates the counter with which one is added to each other. The three characters taken as the axis are the same family members who have been kidnapped, tortured, murdered, denounced or expropriated in our families and, therefore, we have how to express the testimonies. In the living flesh that has left the conflict, how can the new images be put above the wounds? The film is completed with the ‘files’ that each one of us carries and is rebuilt with each projection.

Winter. Nevadas are the first images of the film, mountains and blanched quarries. Exterior and interior winter. And the cold environment becomes the same movie and the viewer. These include summer parties, dances and songs, which are essential to talk about identity. But summer doesn't warm up, and songs don't have a joyful atmosphere. Parties bring air, rest. The ceasefire of the testimonies, if you will. But only enough to endure winter again. Episode from winter to winter. Ensure the winter itself. And then again the cold.
I remember the crude winter of Laboa, between Brecthen Broadway and 26th Street. And his man’s attempt to seek refuge every night “for the nudes.” Reflections that follow: that the world remains the same, but that for one night, at least a few have room to sleep. I don't know if these spots can undergo these kinds of changes even if they're covered. Maybe not. Yes, as a refuge for one night, create a space to undress. Show injuries and collect memories. Even though ‘the snow that was going to him is still on the street’.

Beyond the landscapes of yesterday and today, the search for meaning of the past can serve to think about the future and, thus, give a push to appropriate our upcoming ‘archives’. Starting from the movie. And so be nephew, grandson and descendant.