Ventana

Ventana is one of Caldini's first films: a crescendo of accumulating layers of superimposition, shot directly in camera (with the film being rewound and re-exposed up to 8 times). Lines of light follow the movement of the camera; film as choreography, a visual polyphony. The film is more concrete than abstract.
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A child plays on the beach; we are in home-movie territory. For years I thought I had made a film-poem, without knowing how to explain it, until Gilles Deleuze created the concept of “perception-image”:
A character acts on the screen and it is assumed to see the world in a certain way. But simultaneously the camera sees him, and sees his world from another point of view which thinks, reflects, and transforms the viewpoint of the character […]. In short, perception-image finds its status, as free indirect subjective, from the moment that it reflects its content in a camera-consiousness which has become autonomous (‘cinema of poetry’).
(Gilles Deleuze, Cinema I: The Movement-Image).