Isaki Lacuesta - Naomi Kawase: Carta 3. Los ojos artificiales

Lacuesta abandons the earlier style, and so we watch Segundo de Chomón's film Gérone, la Venise espagnole from 1912, which contains footage of Lake Banyoles in Lacuesta's home region. In this way, he returns to the mystical places of his childhood, most imporatntly to the Darder Museum. For him it is also a metaphor for how film embalms life. He ends with photographs of Isa Campo on the shores of Lake Banyoles and with a fictional story aimed at firing the viewer's imagination. It is the story of a German soldier who crashed into the lake during World War II because he was trying to impress a girl on its shores with his aerial acrobatics. (Ji.hlava International Documentary Film Festival)