Dialóg 20-40-60

The eternal return of the same produces diversity in the bosom of unity, through which every moment branches out in three directions, only to converge in the consciousness of the viewer into a single - understanding, experiencing? - point? - in which there are not three different versions of one original, but a single material in three different embodiments, which must coexist within the viewer simultaneously. It is not about observing the possibilities of rendering one text in different times of human life, but about grasping the impossibility of approaching in the real world the seeing life's presence composed of all its possibilities at once. Words that obtain their truth only in someone else's mouth; repetition in a different context that retrospectively sheds light on something that is to come; reality disintegrating in an image and renewing itself in time. The strongest final piece of the vault (the film only works as a whole) - 60 - then in the movement of tragicomical metafictional reflection, so close to the 1960s, shows that such a grasp is still only possible in the world of illusory art, which becomes more powerful the more impotent it becomes in reality. Otherwise, I believe that the textual original of the film deserves more elaboration. (20/08/2019)