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João Maria Gusmão and Pedro Paiva have produced a series of silent films in 16 mm and 35 mm that, scientifically yet with a touch of irony, present small physical actions and particular optical phenomena. Their inventories of nature and their perspective respond to a physical world that is visible and yet invisible, where the concrete is always presented as something concealed. Something that the filmmakers call “abyssology, a transitory science of the indiscernible”. The simple compositions and the tricks they adopt, such as the use of slow motion or superimposed images, are reminiscent of the silent films of the early days of cinema and the chronophotography of Étienne-Jules Marey.