The truth is that sometimes both worlds are confused, and it is even important that they are mixed. You cannot see the movie of grief that is in the process of mourning, that the maternity movie that has just been a mother, if you have time to go to the movies and do not sleep, or Monday to the Sun (León de Aranoa, 2002) that is unemployed. The glass that each looks at, what color it is. At the Punto de Vista Festival, I've been drawn to the theme of home or life models, and, well, I've written this article pulling those echoes.

Recently, Rosa Mari Arratibel and Iñaki Setién were expelled from home by the vulture Azora. It took place at the center of the festival, after the opening and before the closing. This has its importance in view of the films shown in it. It is the cross-line that links The horses die at dawn (2022) of Ione Atenea, Film balkonowy (2021) by Pawel Łoziński and San Simón 62 (2021) by Irati Gorostidi and Mirari Echávarri.

Atenea film is a work of multiple files and formats. Many of them, yours, many others, were occupied by the oldest owner of the house. When you enter a house that has been owned by another person, there is a clash of presences. The work has been focused on the meeting of this relationship, since in that house of Barcelona the life of its former inhabitants was noticed more than ever.

The principal came to this house about five years ago and was full of things. That's how the voice-over movie opens. The first days came friends to fix the house. Everywhere there were remains of three brothers who had lived before, photographs, radio recordings, clothes, artwork. Antonio, Rosita and Juanito abandoned an extensive heritage without heirs and Athena set out to seek form in the thousand pieces puzzle. Years later, this film narrates the possible stories of its predecessors and their relationship with what they have received.

Mixing all materials shows the puzzle pieces. Thus, the director presents us by pulling a nonlinear thread to each brother, himself, to what happens to that place, and the reactions of the people who are going to approach them in that house. Far from the morbid images that ghosts can produce, more conceptual links are formed: The tuning of the piano was by Rosita, a film named after a narrative by Antonio, or Juanito inherited the desire to create. The film will be completed when the new residents of the house find a way to live with the elderly. However, we suggest a work that is a portrait of two eras: resistance to Franco and current dissidents. Movie to enjoy.

The work of Pawel Łoziński was projected in the Official Section. Film balkonowy is a film shot in Warsaw by the director from the balcony of his house. Down in the street, life is made by all kinds of people: some are walking peacefully, others are hurried and others are endless. Walking with children, late work, tired from home or pulling the pet out. They are all in different moments of life and have different aspirations, objectives and goals. About being, everyone has their own reflection. The principal's stay on the balcony for two years is a search for these stories, the reason each one has found or lost to live.

With the camera facing down, people go down. At first, the director summons them, asks them and shows their relationship a priori. Over time, however, these relationships are developing and deepening in some of them. We will hear unexpected answers, intimate expressions, bancarrabias and philosophical reflections, even some serious insult; and even if some people enter the film, we get to know others in some way. As Miguel Zozaya said, "without moving from one place, Film balkonowy has opted for the knowledge of neighbor through the camera, somehow showing the ability of the cinema to approach the other".

Finally, Irati Gorostidi was nominated for last year's X Film and her co-director Mirari Echávarri presented the film San Simón 62. The festival has been a producer in a project that has been developed within a year and is aimed at the Rainbow community, founded in Lizaso in the 1980s. The mothers of both artists are the ones who guide the directors in their search and are related to the place and the people who lived there. At first she clarifies that it's a work in memory of her mothers, and that puts them in the movie, and we also stand in front of her.

San Simón 62 is a 16-millimeter roll. Gorostidi and Echávarri are filmed when they arrive at the site, researching community files or reading letters. In addition, they ask the people of the people and some of those who have lived in that bathroom, to create a dialogue. They gradually open a window from today to look back. There are few traces of the community, at least in sight. However, the large number of people who came to the room, many of them passed through Rainbow. Managers manage in a very concrete way, instead of telling the history of the community, to express certain conflicts that are important to them, even to suggest hypotheses. Film rolling brings to the film as many aesthetics as difficulties, often determining the same form. What the directors feel and the memory of their inhabitants lies between admiration and rejection, from a very interesting point of view.

I think the greatest achievement of a movie is to influence the point of view, to see something different when looking at something, or to encourage you to see more. These three films have it. What it does with these new conceptions is the responsibility of the viewer.